The emergence of nanoscience portends a revolution in technology that will soon impact virtually every facet of our technological lives. Yet there is little understanding of what it is among the educated public and often among scientists and engineers in other disciplines. Furthermore, despite the emergence of undergraduate courses on the subject, no basic textbooks exist.

Nanotechnology: Basic Science and Emerging Technologies bridges the gap between detailed technical publications that are beyond the grasp of nonspecialists and popular science books, which may be more science fiction than fact. It provides a fascinating, scientifically sound treatment, accessible to engineers and scientists outside the field and even to students at the undergraduate level. After a basic introduction to the field, the authors explore topics that include molecular nanotechnology, nanomaterials and nanopowders, nanoelectronics, optics and photonics, and nanobiomimetrics. The book concludes with a look at some cutting-edge applications and prophecies for the future.

Nanoscience will bring to the world technologies that today we can only imagine and others of which we have not yet dreamt. This book lays the groundwork for that future by introducing the subject to those outside the field, sparking the imaginations of tomorrow's scientists, and challenging them all to participate in the advances that will bring nanotechnology's potential to fruition.

The future of curatorial practice: how education, research, and institutions can adapt to the expansion of the curatorial field. Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition. The expansion of the curatorial field in recent decades has raised questions about exhibition-making itself and the politics of production, display, and distribution. The Curatorial Conundrum looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. The contributors examine the proliferation of graduate programs in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice in recent times. They discuss curating as collaborative research, asking what happens when exhibition operates as a mode of research in its own right. They explore curatorial practice as an exercise in questioning the world around us; and they speculate about what it will take to build new, innovative, and progressive curatorial research institutions. Contributors Nancy Adajania, Melanie Bouteloup, Nikita Yingqian Cai, Luis Camnitzer, Eddie Chambers, Zasha Cerizza Colah, Galit Eilat, Liam Gillick, Koyo Kouoh, Miguel A. Lopez, Hans Ulrich Obrist, Paul O'Neill, Tobias Ostrander, Joao Ribas, Sarah Rifky, Sumesh Sharma, Simon Sheikh, Lucy Steeds, Jeannine Tang, David The, Jelena Vesic & Vladimir Jeric Vlidi, What, How & for Whom/WHW, Mick Wilson, Vivian Ziherl Copublished with the Center for Curatorial Studies Bard College/Luma Foundation