This ground-breaking new history of modern art explores the relationship between art and knowledge from the beginning of the twentieth century to the present day. Each chapter examines artistic responses to a particular discipline of knowledge, from quantum theory and theosophy to cybernetics and ethnic futurisms. The authors argue that art’s incursion into other intellectual disciplines is a defining characteristic of both modernism and postmodernism. Throughout, the volume poses a series of larger questions: is art a source of knowledge? If so, what kind of knowledge? And, ultimately, can it contribute to our understanding of the world in ways that thinkers from other fields should take seriously? -- .

'Extraordinary. An intellectual feast as well as a visual one' Edmund de Waal, author of The Hare with Amber Eyes The world comes to us in colour. But colour lives as much in our imaginations as it does in our surroundings, as this scintillating book reveals. Each chapter immerses the reader in a single colour, drawing together stories from the histories of art and humanity to illuminate the meanings it has been given over the eras and around the globe. Showing how artists, scientists, writers, philosophers, explorers and inventors have both shaped and been shaped by these wonderfully myriad meanings, James Fox reveals how, through colour, we can better understand their cultures, as well as our own. Each colour offers a fresh perspective on a different epoch, and together they form a vivid, exhilarating history of the world. 'We have projected our hopes, anxieties and obsessions onto colour for thousands of years,' Fox writes. 'The history of colour, therefore, is also a history of humanity.'

The First World War is usually believed to have had a catastrophic effect on British art, killing artists and movements, and creating a mood of belligerent philistinism around the nation. In this book, however, James Fox paints a very different picture of artistic life in wartime Britain. Drawing on a wide range of sources, he examines the cultural activities of largely forgotten individuals and institutions, as well as the press and the government, in order to shed new light on art's unusual role in a nation at war. He argues that the conflict's artistic consequences, though initially disruptive, were ultimately and enduringly productive. He reveals how the war effort helped forge a much closer relationship between the British public and their art - a relationship that informed the country's cultural agenda well into the 1920s.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 1 begins with a short autobiographical memoir written by Bunbury towards the end of his life, and ends with his marriage to Frances Horner in 1844. It demonstrates his interest in science, encouraged by his parents and continued at Cambridge and during travels in Europe and South America.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 2 covers the years 1844-8, and shows how Bunbury's marriage brought him into close contact with the geologist Charles Lyell, whom he greatly admired, and who became his brother-in-law. His diaries mention attending lectures by Sedgwick and Owen, and socialising with Babbage and Henslow among others.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 3 covers the years from 1848 to 1856. In 1848 Bunbury published a well-received account of South Africa, and particularly its natural history: he had accompanied Sir George Napier, his step-mother's father, then governor general. Another notable event was a meeting in Berlin with Alexander von Humboldt.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 4 covers the years 1857-64. Bunbury correctly foresaw in October 1859 that 'Darwin's forthcoming book on Species ... is likely to cause no little combustion in the scientific world'. He provides a valuable commentary on its reception over the following months.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 5 covers the years 1865-8, and shows Bunbury's wide reading, from Latin poetry and military history to new books such as the latest edition of Lyell's Elements of Geology, as well as an interesting correspondence between Bunbury, Lyell, Hooker and Darwin about Agassiz's theories on glaciation.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 6 covers the years 1869-72. Bunbury was less active in scientific matters than before, but still reading copiously, carrying on a busy social life, and developing the gardens of his home in Suffolk. There are many comments on current affairs and politics.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 7 covers the years 1873-7. With advancing age there are many notices of deaths or illnesses of friends or colleagues, such as Sedgwick, Agassiz and Lyell, but Bunbury was still enthusiastically discussing his reading with correspondents.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. Volume 8 covers the years 1878-83. Family and social matters, and comments on the disturbed political state of Europe, and British military engagements in Africa and Afghanistan, predominate, although Bunbury also comments on plants he has seen and books he has read.

Sir Charles James Fox Bunbury (1809-86), the distinguished botanist and geologist, corresponded regularly with Lyell, Horner, Darwin and Hooker among others, and helped them in identifying botanical fossils. He was active in the scientific societies of his time, becoming a Fellow of the Royal Society in 1851. This nine-volume edition of his letters and diaries was published privately by his wife Frances Horner and her sister Katherine Lyell between 1890 and 1893. His copious journal and letters give an unparalleled view of the scientific and cultural society of Victorian England, and of the impact of Darwin's theories on his contemporaries. The final volume covers the years 1884-6. Bunbury's health was declining, but he kept up his journal- and letter-writing (although many of his contemporaries had predeceased him), and had many visitors. The volume ends with tributes written by his many friends.

This ground-breaking new history of modern art explores the relationship between art and knowledge from the beginning of the twentieth century to the present day. Each chapter examines artistic responses to a particular discipline of knowledge, from quantum theory and theosophy to cybernetics and ethnic futurisms. The authors argue that art’s incursion into other intellectual disciplines is a defining characteristic of both modernism and postmodernism. Throughout, the volume poses a series of larger questions: is art a source of knowledge? If so, what kind of knowledge? And, ultimately, can it contribute to our understanding of the world in ways that thinkers from other fields should take seriously? -- .

The long-awaited autobiography of the guitarist, songwriter, singer, and founding member of the Rolling Stones. Ladies and gentlemen: Keith Richards.
With The Rolling Stones, Keith Richards created the songs that roused the world, and he lived the original rock and roll life.
Now, at last, the man himself tells his story of life in the crossfire hurricane. Listening obsessively to Chuck Berry and Muddy Waters records, learning guitar and forming a band with Mick Jagger and Brian Jones. The Rolling Stones's first fame and the notorious drug busts that led to his enduring image as an outlaw folk hero. Creating immortal riffs like the ones in "Jumping Jack Flash" and "Honky Tonk Women." His relationship with Anita Pallenberg and the death of Brian Jones. Tax exile in France, wildfire tours of the U.S., isolation and addiction. Falling in love with Patti Hansen. Estrangement from Jagger and subsequent reconciliation. Marriage, family, solo albums and Xpensive Winos, and the road that goes on forever.
With his trademark disarming honesty, Keith Richard brings us the story of a life we have all longed to know more of, unfettered, fearless, and true.

Jeffrey Rubinoff is one of the great sculptors in steel of the second half of the twentieth century. In the 1970s and '80s he exhibited widely in the United States and Canada alongside Anthony Caro, Mark di Suvero and George Rickey, among others. However, in the early 1990s Rubinoff withdrew from the art world altogether and concentrated on creating an extraordinary sculpture park on Hornby Island. This book is the first major account of his remarkable career. The Art of Jeffrey Rubinoff considers Rubinoff's life, work and ideas from a variety of perspectives. Barry Phipps describes Rubinoff's working methods; James Purdon examines the meanings that derive from Rubinoff's use of steel; Joan Pachner focuses on the formative influence of the abstract Expressionist sculptor David Smith on his work; Maria Tippett examines Rubinoff through the lens of the broader arts scene in postwar Canada; and Aaron Rosen attempts to understand Rubinoff's values and ambitions in light of his Jewish heritage. Other contributing scholars include Alistair Rider, Mark E. Breeze, Tom Stammers, Alexander Massouras, David Lawless and Peter Clarke. The book's foreword is written by the distinguished Yale historian Jay Winter. Drawing on interviews and correspondence with Rubinoff himself, as well as uncatalogued archives and unpublished documents in the artist's possession, The Art of Jeffrey Rubinoff makes available for the very first time a significant quantity of primary material, both textual and visual, for scholars and students of the future.

Publisher's Note: Products purchased from Third Party sellers are not guaranteed by the publisher for quality, authenticity, or access to any online entitlements included with the product. Leverage your Oracle DBA skills on Microsoft SQL Server 2008Microsoft SQL Server 2008 Administration for Oracle DBAs shows you how to use your experience as an Oracle DBA to get up to speed quickly on the Microsoft SQL Server platform. Authors with real-world expertise in both Oracle and SQL Server introduce you to fundamental concepts, such as SQL Server architecture and core administration, before guiding you through advanced techniques, including performance optimization, high availability and disaster recovery. Platform comparisons, on-the-job examples, and answers to questions raised by Oracle DBAs learning the SQL Server environment help build your skills. This practical guide shows you how to: Identify the components of the SQL Server platform Understand SQL Server architecture Install and configure SQL Server software and client components Define and manage database objects Implement and administer database security Monitor, identify, and resolve performance issues Design and implement high availability, system backup, and disaster recovery strategies Automate SQL Server using built-in scheduling and alerting capabilities Import and export data to and from SQL Server and other RDBMS platforms Upgrade existing SQL Server installations and migrate Oracle databases to SQL Server

The First World War is usually believed to have had a catastrophic effect on British art, killing artists and movements, and creating a mood of belligerent philistinism around the nation. In this book, however, James Fox paints a very different picture of artistic life in wartime Britain. Drawing on a wide range of sources, he examines the cultural activities of largely forgotten individuals and institutions, as well as the press and the government, in order to shed new light on art's unusual role in a nation at war. He argues that the conflict's artistic consequences, though initially disruptive, were ultimately and enduringly productive. He reveals how the war effort helped forge a much closer relationship between the British public and their art - a relationship that informed the country's cultural agenda well into the 1920s.