The Mystery of Economic Growth (OISC)
The Mystery of Economic Growth (OISC)...
From a Broken Bottle Traces of Perfume Still Emanate: Volumes 1-3
From a Broken Bottle Traces of Perfume Still Emanate: Volumes 1-3 collects the first three installments - Bedouin Hornbook, Djbot Baghostus's Run, and Atet A.D. - of Nathaniel Mackey's genre-defying work of fiction. A project that began over thirty years ago, From a Broken Bottle is an epistolary novel that unfolds through N.'s intricate letters to the mysterious Angel of Dust. Unexpected, profound happenings take place as N. delves into music and art and the goings-on of his transmorphic Los Angeles-based jazz ensemble, in which he is a composer and instrumentalist. This triple-set book opens in July 1978 with a dream of a haunting Archie Shepp solo, and closes in September 1982 in a parallactic studio recording session on a glass-bottomed boat borne aloft by the music. The fourth volume of Mackey's novel, Bass Cathedral - also available from New Directions - was chosen by The New York Times as one of 100 Notable Books of 2008. But that it didn't end there......
Age of Nationalism & Reform 1850–1890 2e V 5 (Edited By Norman Rich)
Age of Nationalism & Reform 1850–1890 2e V 5 (Edited By Norman Rich)...
A Russian Doll & Other Stories (Paper)
A Russian Doll & Other Stories (Paper)...
The Odd One In – On Comedy
The Odd One In – On Comedy...
Making War, Forging Revolution: Russia's Continuum of Crisis, 1914-1921
Offering a fundamental reinterpretation of the emergence of the Soviet state, Peter Holquist situates the Bolshevik Revolution within the continuum of mobilization and violence that began with World War I and extended through Russia's civil war. In so doing, Holquist provides a new genealogy for Bolshevik political practices, one that places them clearly among Russian and European wartime measures. From this perspective, the Russian Revolution was no radical rupture with the past, but rather the fulcrum point in a continent-wide era of crisis and violence that began in 1914.
While Tsarist and Revolutionary governments implemented policies for total mobilization common to other warring powers, they did so in a supercharged and concentrated form. Holquist highlights how the distinctive contours of Russian political life set its experience in these years apart from other wartime societies. In pursuit of revolution, statesmen carried over crisis-created measures into political life and then incorporated them into the postwar political structure. Focusing on three particular policies - state management of food; the employment of official violence for political ends; and state surveillance - Holquist demonstrates the interplay of state policy and local implementation, and its impact on the lives of ordinary citizens. Making War, Forging Revolution casts a new light on Russia's revolution and boldly inserts it into the larger story of the Great War and twentieth-century European history....
A History of the Laws of War: Volume 1
This unique new work of reference traces the origins of the modern laws of warfare from the earliest times to the present day. Relying on written records from as far back as 2400 BC, and using sources ranging from the Bible to Security Council Resolutions, the author pieces together the history of a subject which is almost as old as civilisation itself. The author shows that as long as humanity has been waging wars it has also been trying to find ways of legitimising different forms of combatants and ascribing rules to them, protecting civilians who are either inadvertently or intentionally caught up between them, and controlling the use of particular classes of weapons that may be used in times of conflict. Thus it is that this work is divided into three substantial parts: volume 1 on the laws affecting combatants and captives; volume 2 on civilians; and volume 3 on the law of arms control. As a work of reference this set of three books is unrivalled, and will be of immense benefit to scholars and practitioners researching and advising on the laws of warfare. It also tells a story which throws fascinating new light on the history of international law and on the history of warfare itself....
Remediation: Understanding New Media
Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio....
Henry Lee's Crime Scene Handbook, Уцененный товар (№1)
Cuts: Texts 1959-2004 Уцененный товар (№1)
Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts - the most comprehensive collection of his writings yet published - appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters - public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.
Carl Andre's writing and its materiality - its stress on the visual and tactile qualities of language - takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."...