India, Living in an Ornate World explores as to why India is so rich in colour and ornamentation and why it has such a diversity of culture and architecture. There is still a large part of the population who prefer to continue living their traditional life in old-world settings. Their buildings reflect their long artistic and creative history. This can be seen in all levels of society. A modest dwelling in India can give as much an indication of this as can a palace. The lives of people in streets tend to be lived in public. The street is the extension of the house. A large part of this life is carried out on the streets and is often shared with many different animals due to the Hindu love of them. The photographs in this book aimed to catch many of these scenes.

For more than thirty-five years, James Welling has explored the material and conceptual possibilities of photography. "Diary/Landscape"--the first mature body of work by this important contemporary artist--set the framework for his subsequent investigations of abstraction and his fascination with nineteenth- and twentieth-century New England.
In July 1977, Welling began photographing a two-volume travel diary kept by his great-grandmother Elizabeth C. Dixon, as well as landscapes in southern Connecticut. In one closely cropped image, lines of tight cursive share the page with a single ivy leaf preserved in the diary. In another snowy image, a stand of leafless trees occludes the gleaming Long Island sound. In subject and form, Welling emulated the great American modernists Alfred Stieglitz, Paul Strand, and Walker Evans--a bold move for an artist associated with radical postmodernism. At the same time, Welling's close-ups of handwriting push to the fore the postmodernist themes of copying and reproduction.
A beautiful and moving meditation on family, history, memory, and place, "Diary/Landscape" reintroduced history and private emotion as subjects in high art, while also helping to usher in the centrality of photography and theoretical questions about originality that mark the epochal Pictures Generation. The book is published to accompany the first-ever complete exhibition of this series of pivotal photographs, now owned by the Art Institute of Chicago.

This book is open access under a CC BY 4.0 license. With this graduate-level primer, the principles of the standard model of particle physics receive a particular skillful, personal and enduring exposition by one of the great contributors to the field. In 2013 the late Prof. Altarelli wrote: The discovery of the Higgs boson and the non-observation of new particles or exotic phenomena have made a big step towards completing the experimental confirmation of the standard model of fundamental particle interactions. It is thus a good moment for me to collect, update and improve my graduate lecture notes on quantum chromodynamics and the theory of electroweak interactions, with main focus on collider physics. I hope that these lectures can provide an introduction to the subject for the interested reader, assumed to be already familiar with quantum field theory and some basic facts in elementary particle physics as taught in undergraduate courses. "These lecture notes are a beautiful example of Guido's unique pedagogical abilities and scientific vision". From the Foreword by Gian Giudice

"What treasures of knowledge we cluster around." That This is a collection in three pieces. "Disappearance Approach," an essay about Howe's husband's sudden death—"land of darkness or darkness itself you shadow mouth"—begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, and elusive remnants. "Frolic Architecture," the second section—inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six photograms by James Welling—presents hauntingly lovely, oblique type-collages of Hannah Edwards Wetmore's diary entries that Howe (with scissors, "invisible" Scotch Tape, and a Canon copier) has twisted, flattened, and snipped into inscapes of force. The final section, "That This," delivers beautiful short squares of verse that might look at home in a hymnal, with their orderly appearance packing startling power:      That this book is a history of      a shadow that is a shadow of      Me mystically one in another      another another to subserve.