This book documents how Israel emerged as one of the world's leading centers of high technology over the last three decades and the impact that it has had, or failed to have, on the wider economy and politics. Based on the study of start-up companies, the project attributes the rise of Israel's tech economy to its unique history, political system, and culture, and shows how those same factors have failed it in the quest to diversify its economy to make it more inclusive and equitable. This work will interest economists, political scientists, Israeli studies academics, investors, policy makers, journalists, and business readers.

The radical response to conservative heritage tours and banal day-tripper guides, Rebel Footprints brings to life the history of social movements in the capital. Transporting readers from well-known landmarks to history-making hidden corners, David Rosenberg tells the story of protest and struggle in London from the early nineteenth to the mid-twentieth century. From the suffragettes to the socialists, from the Chartists to the trade unionists, the book invites us to step into the footprints of a diverse cast of dedicated fighters for social justice. Self-directed walks pair with narratives that seamlessly blend history, politics and geography, and beautifully illustrated maps immerse the reader in the story of the city. Whether you are visiting it for the first time, or born and raised in it, Rosenberg invites you to see London as you never have before: the nation's capital as its radical centre.

The internationally distinguished scientists contributing to this volume approach the subject from an ecological rather than taxonomic standpoint and present the basic biology of insects associated with streams, ponds, lakes, and marine habitats.

This book documents how Israel emerged as one of the world's leading centers of high technology over the last three decades and the impact that it has had, or failed to have, on the wider economy and politics. Based on the study of start-up companies, the project attributes the rise of Israel's tech economy to its unique history, political system, and culture, and shows how those same factors have failed it in the quest to diversify its economy to make it more inclusive and equitable. This work will interest economists, political scientists, Israeli studies academics, investors, policy makers, journalists, and business readers.

This volume is dedicated to the international artist Kata Legrady's graphic work, through a selection of drawings, sketches and preparatory studies published on the occasion of the exhibition at Fondazione Mudima in Milan. Through the graphic work gathered in this volume, we discover her creative praxis which, according to Arturo Schwarz, "is determined, to a great extent, by her unconscious; the work has a playful dimension; she observes the world with a gaze that has conserved the innocence, curiosity and inventiveness of childhood". Finally, an essay by Bazon Brock brings a deep insight on the importance of drawing in the practice of contemporary art.

The radical response to conservative heritage tours and banal day-tripper guides, Rebel Footprints brings to life the history of social movements in the capital. Transporting readers from well-known landmarks to history-making hidden corners, David Rosenberg tells the story of protest and struggle in London from the early nineteenth to the mid-twentieth century. From the suffragettes to the socialists, from the Chartists to the trade unionists, the book invites us to step into the footprints of a diverse cast of dedicated fighters for social justice. Self-directed walks pair with narratives that seamlessly blend history, politics and geography, and beautifully illustrated maps immerse the reader in the story of the city. Whether you are visiting it for the first time, or born and raised in it, Rosenberg invites you to see London as you never have before: the nation's capital as its radical centre.

Kata Legrady (Hungary 1974) belongs to that long line of artists for whom an object offers the stimulus for artistic thought. Her approach takes the form of a symbolic encounter between objects associated with childhood with those associated with violence. In her work, an artillery shell, a bomb, a pistol, a Kalashnikov can be transformed from devices of death to works of art. The book gathers the work exhibited at Mudima foundation of the artist from the Guns and Candies of 2008, to the Gasmasks of 2009, Little Boy in 2009 and 2010, and the more recent works, from 2011: Mickey, Pearl Harbor; Government Balancoir; CatWoman; Cheval a Bascule, all the way to the Disney series. At first sight there is no precise message, no hidden aspect. We are not dealing with complex and stratified arrangements of images or objects but with restrained, frontal and simplified compositions. They are carriers that, as Jeff Koons put it so well, are there "to stimulate and activate the viewer's mental and physical state".

These composite landscapes are recreated places from an estranged homeland. Visible and obscured parts of the landscape suggest the interplay of effects between man and nature, as well as the imperfections of memory. The discontinuity induces the viewer to draw on their own experiences to complete the work. The textures of human fingerprints in the work evokes the uniqueness of our connection with nature and our impressions upon it.

In 1990, the international bestseller, The Book of J (1990), co-authored by David Rosenberg and Harold Bloom (Grove; Faber in the U.K.) was followed by several books of poetry and prose (A Poet's Bible is the first biblical translation to win a major literary award), and then, in 2013, A Life in a Poem began as a Guggenheim Fellowship project. Now, in this trailblazing narrative about where we are going as a species, Rosenberg shows us how he became a writer both ancient and contemporary. The crucial Jewish poet of his time, rooted in the Hebrew of the Bible and the existential sublime of the New York School, Rosenberg has been read so far, by Jews and non-Jews, mainly for his experimental vision. Donald Hall described him as "an ancient Hebrew biblical poet as if writing today in the rhythms of the United States". Among critics, Harold Bloom states that "the play of languages emerges in Rosenberg as it does not in King James," while Frank Kermode wrote in the New York Times Book Review, "he must somehow be modern as well as faithful to the past, reproducing an ancient, strange, uncanny vigor, bearing in mind American poetry's struggle with natural speech". More recently, Adam Kirsch writes that Rosenberg is "replacing the doubtful miracle of divine inspiration with the genuine miracle of poetic inspiration", and Oxford's John Barton describes his work in the New York Review of Books as "neither epic nor romance nor tragedy nor comedy yet all these at once". These words may now apply as well to Rosenberg's innovative new memoir, A Life in a Poem.

With the Practice of Lectio Divina we seek to deepen our interpersonal relationship with God through reflection, prayer and contemplation. We are called regularly to an "experience of desert" to seek silence and solitude, as our Desert Fathers did in the Early Church. It is here that we come to recognize more clearly and truly who God is, who we are, who others are, what the world is, and the reality of grace versus evil. We try to clarify God's view of us - creatures with such a special destiny. We come to more perfectly view ourselves as persons made in the image of God. Through this discovery, we come to appreciate the extent to which the likeness has been lost, but can be recovered in Jesus Christ. We are ultimately called to respond in action to what has been gained through our practice of Lectio Divina.