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

Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology-taking its title from Mary Douglas's 1986 book, How Institutions Think-reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology. Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, "Thinking via Institution," moves from the particular to the general; the second part, "Thinking about Institution," considers broader questions about the nature of institutional frameworks. Contributors include Natasa Petresin Bachelez, Dave Beech, Melanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Celine Condorelli, Pip Day, Clementine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguieres, Patrick D. Flores, Marina Grzinic, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson

What it means to be global-or to be local-in the context of artistic, curatorial, and theoretical knowledge and practice. In this volume, an international, interdisciplinary group of writers discuss what it means to be global-or to be local-in the context of artistic, curatorial and theoretical knowledge and practice. Continuing the discussion begun in The Curatorial Conundrum (2016) and How Institutions Think (2017), Curating After the Global considers curating and questions of locality, geopolitical change, the reassertion of nation-states, and the violent diminishing of citizen and denizen rights across the globe. It has become commonplace to talk of a globalized art world and even to speak of contemporary art as a driver of globalization. This universalization of what art is or can be is often presumed to be at the cost of local traditions and any sense of locality and embeddedness. But need this be the case? The contributors to Curating After the Global explore, among other things, specific curatorial projects that may offer roadmaps for the globalized present; new institutional approaches; and ways of thinking, vocabularies, and strategies for moving forward. Contributors include Lotte Arndt, Marwa Arsanios, Athena Athanasiou and Simon Sheikh, Maria Berrios and Jakob Jakobsen, Qalandar Bux Memon, Ntone Edjabe and David Morris, Liam Gillick, Alison Greene, Yaiza Maria Hernandez Velazquez, Prem Krishnamurthy and Emily Smith, Nkule Mabaso, Morad Montazami, Paul-Emmanuel Odin, Vijay Prashad, Kristin Ross, Grace Samboh, Sumesh Sharma, Joshua Simon, Hajnalka Somogyi, Lucy Steeds, Francoise Verges Copublished with the Center for Curatorial Studies Bard College/Luma Foundation