This book explains - in simple terms and with almost no mathematics - the physics behind recent and glamorous discoveries in Cosmology, Quantum Mechanics, Elementary Particles (e.g. Higgs bosons) and Complexity Theory. En route it delves into the historical landmarks and revolutions that brought about our current understanding of the universe. The book is written mainly for those with little scientific background, both college students and lay readers alike, who are curious about the world of modern physics. Unsolved problems are highlighted and the philosophical implications of the sometimes astounding modern discoveries are discussed. Along the way the reader gains an insight into the mindset and methodology of a physicist.

This book explains - in simple terms and with almost no mathematics - the physics behind recent and glamorous discoveries in Cosmology, Quantum Mechanics, Elementary Particles (e.g. Higgs bosons) and Complexity Theory. En route it delves into the historical landmarks and revolutions that brought about our current understanding of the universe. The book is written mainly for those with little scientific background, both college students and lay readers alike, who are curious about the world of modern physics. Unsolved problems are highlighted and the philosophical implications of the sometimes astounding modern discoveries are discussed. Along the way the reader gains an insight into the mindset and methodology of a physicist.

Speculative Landscapes offers the first comprehensive account of American artists' financial involvements in and creative responses to the nineteenth-century real estate economy. Examining the dealings of five painters who participated actively in this economy-Daniel Huntington, John Quidor, Eastman Johnson, Martin Johnson Heade, and Winslow Homer-Ross Barrett argues that the experience of property investment exposed artists to new ways of seeing and representing land, inspiring them to develop innovative figural, landscape, and marine paintings that radically reworked visual conventions. This approach moved beyond just aesthetics, however, and the book traces how artists creatively interrogated the economic, environmental, and cultural dynamics of American real estate capitalism. In doing so, Speculative Landscapes reveals how the provocative experience of land investment spurred painters to produce uniquely insightful critiques of the emerging real estate economy, critiques that uncovered its fiscal perils and social costs and imagined spaces outside the regime of private property.

With the aid of entertaining short stories, anecdotes, lucid explanations and straight-forward figures, this book challenges the perception that the world of physics is inaccessible to the non-expert. Beginning with Neanderthal man, it traces the evolution of human reason and understanding from paradoxes and optical illusions to gravitational waves, black holes and dark energy. On the way, it provides insights into the mind-boggling advances at the frontiers of physics and cosmology. Unsolved problems and contradictions are highlighted, and contentious issues in modern physics are discussed in a non-dogmatic way in a language comprehensible to the non-scientist. It has something for everyone.

In the 150 years since the birth of the petroleum industry oil has saturated our culture, fueling our cars and wars, our economy and policies. But just as thoroughly, culture saturates oil. So what exactly "is" "oil culture"? This book pursues an answer through petrocapitalism's history in literature, film, fine art, wartime propaganda, and museum displays. Investigating cultural discourses that have taken shape around oil, these essays compose the first sustained attempt to understand how petroleum has suffused the Western imagination.

The contributors to this volume examine the oil culture nexus, beginning with the whale oil culture it replaced and analyzing literature and films such as "Giant, Sundown," Bernardo Bertolucci's "La Via del Petrolio," and Ben Okri's "What the Tapster Saw"; corporate art, museum installations, and contemporary photography; and in apocalyptic visions of environmental disaster and science fiction. By considering oil as both a natural resource and a trope, the authors show how oil's dominance is part of culture rather than an economic or physical necessity. "Oil Culture" sees beyond oil capitalism to alternative modes of energy production and consumption.

Contributors: Georgiana Banita, U of Bamberg; Frederick Buell, Queens College; Gerry Canavan, Marquette U; Melanie Doherty, Wesleyan College; Sarah Frohardt-Lane, Northern Illinois U; Matthew T. Huber, Syracuse U; Dolly Jorgensen, Umea U; Stephanie LeMenager, U of Oregon; Hanna Musiol, Northeastern U; Chad H. Parker, U of Louisiana at Lafayette; Ruth Salvaggio, U of North Carolina, Chapel Hill; Heidi Scott, Florida International U; Imre Szeman, U of Alberta; Michael Watts, U of California, Berkeley; Jennifer Wenzel, U of Michigan; Sheena Wilson, U of Alberta; Rochelle Raineri Zuck, U of Minnesota Duluth; Catherine Zuromskis, U of New Mexico.

Rendering Violence explores the problems and possibilities that the subject of political violence presented to American painters working between 1830 and 1890, a turbulent period during which common citizens frequently abandoned orderly forms of democratic expression to riot, strike, and protest violently. Examining a range of critical texts, this book shows for the first time that nineteenth-century American aesthetic theory defined painting as a privileged vehicle for the representation of political order and the stabilization of liberal-democratic life. Analyzing seven paintings by Thomas Cole, John Quidor, Nathaniel Jocelyn, George Henry Hall, Thomas Nast, Martin Leisser, and Robert Koehler, Ross Barrett reconstructs the strategies that American artists developed to explore the symbolic power of violence in a medium aligned ideologically with lawful democracy. He argues that American paintings of upheaval render" their subjects in divergent ways. By exploring the inner conflicts that structure these painterly projects, Barrett sheds new light on the politicized pressures that shaped visual representation in the nineteenth century and on the anxieties and ambivalences that have long defined American responses to political turmoil.

In the 150 years since the birth of the petroleum industry oil has saturated our culture, fueling our cars and wars, our economy and policies. But just as thoroughly, culture saturates oil. So what exactly "is" "oil culture"? This book pursues an answer through petrocapitalism's history in literature, film, fine art, wartime propaganda, and museum displays. Investigating cultural discourses that have taken shape around oil, these essays compose the first sustained attempt to understand how petroleum has suffused the Western imagination.

The contributors to this volume examine the oil culture nexus, beginning with the whale oil culture it replaced and analyzing literature and films such as "Giant, Sundown," Bernardo Bertolucci's "La Via del Petrolio," and Ben Okri's "What the Tapster Saw"; corporate art, museum installations, and contemporary photography; and in apocalyptic visions of environmental disaster and science fiction. By considering oil as both a natural resource and a trope, the authors show how oil's dominance is part of culture rather than an economic or physical necessity. "Oil Culture" sees beyond oil capitalism to alternative modes of energy production and consumption.

Contributors: Georgiana Banita, U of Bamberg; Frederick Buell, Queens College; Gerry Canavan, Marquette U; Melanie Doherty, Wesleyan College; Sarah Frohardt-Lane, Northern Illinois U; Matthew T. Huber, Syracuse U; Dolly Jorgensen, Umea U; Stephanie LeMenager, U of Oregon; Hanna Musiol, Northeastern U; Chad H. Parker, U of Louisiana at Lafayette; Ruth Salvaggio, U of North Carolina, Chapel Hill; Heidi Scott, Florida International U; Imre Szeman, U of Alberta; Michael Watts, U of California, Berkeley; Jennifer Wenzel, U of Michigan; Sheena Wilson, U of Alberta; Rochelle Raineri Zuck, U of Minnesota Duluth; Catherine Zuromskis, U of New Mexico.