Heapsa: April 2011

Senin, 25 April 2011

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This issue of AD explores the remarkable resurgence of ecological strategies in architectural imagination. As a symptom of a new sociopolitical reality inundated with environmental catastrophes, sudden climatic changes, garbage-packed metropolises and para-economies of non-recyclable e-waste, environmental consciousness and the image of the earth re-emerges, after the 1960s, as an inevitable cultural armature for architects; now faced with the urgency to heal an ill-managed planet that is headed towards evolutionary bankruptcy. At present though, in a world that has suffered severe loss of resources, the new wave of ecological architecture is not solely directed to the ethics of the world's salvation, yet rather upraises as a psycho-spatial or mental position, fuelling a reality of change, motion and action. Coined as ‘EcoRedux', this position differs from utopia in that it does not explicitly seek to be right; it recognises pollution and waste as generative potentials for design. In this sense, projects that may appear at first sight as science-fictional are not part of a foreign sphere, unassociated with the real, but an extrusion of our own realms and operations.

Contributors include: Matthias Hollwich and Marc Kushner (HWKN), Fabiola L�pez-Dur�n and Nikki Moore, Anthony Vidler and Mark Wigley.
Featured architects: Anna Pla Catal�, Jonathan Enns, Eva Franch-Gilabert. Mitchell Joachim (Terreform One), Fran�ois Roche (R&Sie(n)), Rafi Segal, Alexandros Tsamis and Eric Vergne.

Sales Rank: #4239716 in Books
Published on: 2010-12-28
Original language: English
Number of items: 1
Dimensions: 10.80" h x .40" w x 8.30" l, 1.26 pounds
Binding: Paperback
136 pages

About the Author
Lydia Kallipoliti is a practising architect and a writer, currently teaching as an assistant professor adjunct at the Cooper Union school of architecture in New York. She holds a Diploma in Architecture and Engineering from the Aristotle University of Thessaloniki (AUTh) in Greece, a SMArchS from MIT and an MA from Princeton University, and is completing her PhD at Princeton on recycling material experiments and the intersection of cybernetic and ecological theories in the postwar period.
Her design work has received awards in several international architectural competitions, and has been exhibited at venues including the Royal Institute of British Architects (RIBA), the Biennial Miami+ Beach, the Venice Biennale, the Byzantine Museum of Athens, the Biennale of Young Greek Architects, the 5th National Exhibition of Greek Architectural Work and the 'Non-Standard Praxis' digital design conference. Her theoretical work has been published widely in Log, Thresholds, 306090, ArcPlus, Pidgin, Future Anterior, The Cornell Journal of Architecture and Routledge's Urbanism Reader, and presented in lectures internationally. She is the recipient of awards including the Woodrow Wilson Fellowship, the Lawrence Anderson award for the creative documentation of architectural history, the High Meadows Sustainability Fund, the Marvin E Goody award for excellence in the creative use of materials and a Fulbright scholarship.
This issue of AD is part of a larger research project that Kallipoliti designed and curated. ‘EcoRedux' is also an exhibition installation which was hosted at the Byzantine Museum of Athens, at Columbia University and at the Cooper Union in New York, and is forthcoming with 1/1 prototype installations at the Design Hub of Barcelona in March 2011. ‘EcoRedux' is accompanied by an online non-profit educational resource for ecological experiments in the 1960s and 1970s and their potential creative reuse in contemporary design culture (www.ecoredux.com). The website received an honour at the 14th International Webby Awards of 2010. As an open-source database, EcoRedux online has a dual function: first, to explore the history of the period in assembling a genealogical archive and second, to reuse the archive as a generative device for design. Given the open-source nature of the project, architects and designers are able to actively participate in the expansion of the website by submitting for upload their own interpretations of ecological experiments that are documented in the archive. EcoRedux is an expanding, growing resource: a wikipedia for designers to expand their knowledge and trigger new ecological projects.
Special thanks to Laura Serejo Genes for her invaluable organisation assistance in editing this issue.

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[H135.Ebook] PDF Download Extending Families: The Social Networks of Parents and their Children, by Moncrieff Cochran, Mary Larner, David Riley, Lars Gunnarsson, Ch

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How do personal networks evolve and what roles do they play for parents, and for the development of children? Can these ties with relatives, neighbors, and friends provide stability for family members during periods of disruption caused by divorce, unemployment, geographic dislocation or serious illness? How do networks change over time? To what extent are network members interchangeable; can unrelated friends take the place of close relatives? These are among the questions addressed in Extending Families, a ground-breaking study about how personal networks evolve, and what roles they play for parents and for the development of children. The volume is an outgrowth of a ten-year cooperative research effort carried out by the authors as part of the Comparative Ecology of Human Development Project at Cornell University. The authors document and compare the roles of network member players, the ways that networks change over time, and the impact of different network resources on developing individuals. The impacts on parent network participation in a community-based family support program are examined, and a more general discussion of how public policies might strengthen access to informal social supporters is also provided.

Sales Rank: #4754109 in Books
Published on: 1993-03-26
Original language: English
Number of items: 1
Dimensions: 8.98" h x 1.02" w x 5.98" l, 1.36 pounds
Binding: Paperback
468 pages

Review
"...a major contribution to the empirical and theoretical work on social networks. Any researcher interested in the intersection of families, children, and social networks should read it." Contemporary Sociology

"...presents a model for understanding the development of personal networks. An important addition to the literature on family studies and human development." Choice

"Does the book make a significant contribution to the field? Is it likely to exert an impact on research in human development? Does it bear careful and repeated readings? On all these counts, yes. I think it will have staying-power in the field...tantalizing ideas that others may be challenged to explore and develop." Human Development

"...a comprehensive and integrated volume exploring the social networks of parents and children. Blending research, description, and commentary, the team aids the reader in better understanding the power and complexity of networks in people's lives...[includes] substantial resources from cross-cultural studies...will be a boon to family practitioners who want grounding for their work in community building. Children, adults, and elders will be enriched if we take seriously their data." Ted Bowman, Family Forum, the newsletter of the Minnesota Council on Family Relations

"Extending Families is a monumental example of the best in social network research....[T]he book is impressive in the care and detail of the presentation....[E]ssential reading for any teacher or researcher interested in the mother-child relationship, the social world of the single-parent family, the influences of culture and SES on patterns of social relatedness, extra-familial influences on child development, or the methodoological detail necessary to chart the factors that form the structures of social networks....[S]tands as a sterling example of careful, scholarly research and is destined to become a new classic in the field of social network research." Steven R. Daugherty, Contemporary Psychology

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Sabtu, 23 April 2011

[U570.Ebook] Fee Download How Poetry Works, by Philip Davies Roberts

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In this refreshing and inspiring book, Phil Roberts asserts that poetry, like music, is based on sound and so close attention should be paid to its rhythms and metrical patterns. He illustrates his points with lively examples ranging from nursery rhymes and limericks to recent experimental forms as well as familiar pieces from over the centuries. The book concludes with a Millennium Anthology, a salute to the poetry of the past thousand years, including pieces from England, Ireland, Scotland and Wales, as well as Australia, Canada, New Zealand and the USA.

Sales Rank: #3502728 in Books
Published on: 2000-05-02
Released on: 2000-05-02
Format: International Edition
Original language: English
Number of items: 1
Dimensions: 7.80" h x .71" w x 5.08" l, .0 pounds
Binding: Paperback
304 pages

About the Author
Phil Roberts was born in Canada and educated there and in England. Apart from working as a writer, with over ten published books, he is also an active musician. He is an Associate of the Australian Conservatory of Music and also of the Royal Canadian College of Organists.

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1 of 1 people found the following review helpful.
A Great introduction to Poetry
By Todd
I never really understood poetry until I read the book. The author takes the reader on the journey from our first poems as an infant "ga-ga" and "goo-goo" to some of the more complex rhyming structures. He explains how poetry is part of our language and the way we think.

1 of 1 people found the following review helpful.
It's a refreshing book
By Abhishek Srivastav
The book is not meant for people who want to learn how to write poetry. It talks beautifully about the technique. It is detailed, robust and explores the flavors of the science with daring subtlety. I thoroughly enjoyed it.

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Senin, 11 April 2011

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Sales Rank: #581588 in eBooks
Published on: 2015-07-30
Released on: 2015-07-30
Format: Kindle eBook

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Sabtu, 09 April 2011

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Robert Capa was arguably the finest photojournalist of the twentieth century and without doubt its greatest combat photographer-he covered every major conflict from the Spanish Civil War to the beginnings of Vietnam. An inveterate gambler who coined the dictum "if your pictures aren't good enough, you're not close enough," Capa risked his life again and again, most dramatically as the only photographer landing with the first wave on Omaha Beach on D-Day, and he created some of the most enduring images ever made with a camera.

But the drama in Capa's life wasn't limited to one side of the lens. Born in Budapest as Andre Freidman, Capa fled political repression and anti-Semitism as a teenager by escaping to Berlin, where he first picked up a Leica and then witnessed the rise of Hitler. By the time his images of D-Day appeared in Life Magazine, he had become a legend, the first photographer to make his calling appear glamorous and sexy, and the model for many of the most intrepid photographers to this day. In 1947, after a decade covering war, he founded a cooperative agency-Magnum-and in the process revolutionized the industry. For the first time, photographers would retain their own copyrights and negatives, and nearly half a century later, Magnum remains the most prestigious agency of its kind.

By the time he died, at just forty-one in 1954, Capa was not only the greatest adventurer in photographic history. He had become a colleague and confidant to writers Irwin Shaw, John Steinbeck, and Ernest Hemingway and director John Huston, and a seducer of several of his era's most alluring icons, including Ingrid Bergman.

From Budapest in the twenties to Paris in the thirties, from post-war Hollywood to Stalin's Russia, and from New York in the fifties to Indochina, Blood and Champagne is a wonderfully evocative account of Capa's life and times. Based on extensive interviews with Capa's friends and contemporaries, as well as FBI and Soviet files and other previously unpublished materials, Alex Kershaw's biography is every bit as compelling as its charismatic subject.

Sales Rank: #694739 in Books
Published on: 2003-07-25
Original language: English
Number of items: 1
Dimensions: 9.68" h x 1.19" w x 6.40" l,
Binding: Hardcover
304 pages

Amazon.com Review
"It does seem to me that Capa has proved beyond all doubt that the camera need not be a cold mechanical device," John Steinbeck wrote of photojournalist Robert Capa in a quote that launches this well-written, exhaustively researched biography. "Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart." That’s quite a compliment coming from an author like Steinbeck, but then Capa won the respect and friendship of some of the brightest talents of his generation; other admirers and poker buddies included Ernest Hemingway and John Huston, and among his many loves was actress Ingrid Bergman. Capa won fame slogging through the blood and grime to capture vivid images of five different wars, from the Spanish Civil War (where he wasn't above staging some of his photographs), through the landings at Omaha Beach on D-Day (which he chronicled for Life magazine as the only journalist to wade ashore with the first wave of G.I.s), to the early days of the Vietnam conflict (where he was killed in action at the age of 41 while covering the French army, soon to be replaced with disastrous results by the Americans). Born a Hungarian Jew named Andr� Friedmann, another great writer, John Hersey, famously dubbed the swarthy chain-smoking photographer "the Man Who Invented Himself," and author Alex Kershaw contends that one of his greatest achievements was the legend that he created for himself. A California journalist who contributes to The Guardian and The Sunday Times Magazine, among others, Kershaw brings Capa and his times to life with bright, vivid writing and telling anecdotes, using a fascinating personal odyssey to put the man's professional accomplishments in perspective. "Capa was the first photographer to make photojournalism appear glamorous and sexy," he writes. Of course, that distinction and all others take a back seat to the photos themselves, and this book’s only shortcoming is that it does not include any examples of the great man’s work.--Jim DeRogatis

From Publishers Weekly
Robert Capa was the archetype of the intrepid war photographer. Asserting that "if your pictures aren't good enough, you're not close enough," Capa braved combat in the Spanish Civil War, hit Omaha Beach in the first wave on D-Day, and jumped behind German lines with American paratroopers, returning with visceral pictures-like the famous (and possibly staged) "falling soldier" photo of a Spanish Republican militiaman who had just been shot-that defined our idea of what modern war looks like. "Profligate, passionate, impulsive," Capa was a ladies' man who liked nice togs, hobnobbed with the rich and famous, got caught up in anti-Fascist and Popular Front politics, and played poker compulsively when he was not risking his life in combat-in other words, he practically invented the persona of the celebrity photojournalist. He also co-founded the pioneering Magnum photo agency, which gave freelance photographers ownership and control of their photos. Journalist Kershaw gives an engrossing account of Capa's impossibly romantic life, elegantly evoking both the horror of the front lines and the glamour of wartime Madrid, London and Paris, where Capa befriended the likes of Ernest Hemingway and romanced the likes of Ingrid Bergman. Packed with arresting anecdotes and character studies, Kershaw's biography is a worthy companion to Capa's work. Photos.
Copyright 2003 Reed Business Information, Inc.

From The New Yorker
Andr� Friedmann, a.k.a. Robert Capa, war photographer, bon vivant, and co-founder of Magnum, the legendary photo agency, remains the archetype of the committed photojournalist, risking his life to capture indelible images of the Spanish Civil War, Japan's invasion of China, Second World War battles in North Africa, Italy, France, and Germany, and Israel's war for independence. A Hungarian refugee who arrived in Paris in 1933, Capa transformed himself into a charming, caustic adventurer, a high-stakes gambler who left behind a heartbroken trail of beautiful women (including Ingrid Bergman). Kershaw is sympathetic, but by no means blind to his subject's technical, personal, and occasionally ethical limitations, and he conscientiously corrects the romantic embellishments that Capa made to his life story. No matter who tells it, there's a haunting inevitability to the story's end, when, in 1954, Capa finally runs out of luck—at the age of forty, the first American correspondent to die in Indochina.
Copyright � 2005 The New Yorker

Most helpful customer reviews

4 of 8 people found the following review helpful.
It's okay
By A photographer
Capa is one of the romantic characters of journalism, a free spirit with an insatiable appetite for risk-taking, alcohol, cigarettes and women. That he died at age 40 in the line of duty as a war photographer has only embellished his image. These are the facts we have known about Capa for decades, reported nicely in Whelan's biography in the 1980's. This book doesn't expand on this information very much.

If you leave out the sections about the famous women he bedded, this would be a much shorter book. It's tawdry in that regard but that does keep the book rolling along. Overall, it's not a bad biography of Capa. It does seem to me to borrow heavily from Whelan's biography and from Capa's own book "Slightly Out Of Focus". If you're familiar with those books, there are no new revelations here.

I do take issue with one small point. Capa is constantly referred to as having Leicas dangling around his neck, using Leicas on assignments and holding Leicas. While I do not doubt Capa used Leicas--along with other brands of cameras--during his career, Kershaw's repeated references are tedious. This is especially true when one considers that Capa is closely identified with the now defunct 35mm Zeiss Contax, he used Contax cameras during the D-Day invasion and he was using Contax cameras at the time of his death in Indochina in 1954. In fact, the two photographs in Kershaw's book that show Capa with a camera "dangling around his neck" actually show him with Contax cameras, not Leicas.

That small point is indeed small, however, it begs the question of how correct the other information might be. Of course biographies are often based on hearsay and ancedotal information, the veracity of which is open to interpretation. Maybe Kershaw was just invoking creative license and using Leica as metaphor. It's not a point any non-photographer reader would even notice. Still, I find it a little troubling.

Overall, this is a decent but derivative sketch of Capa.

10 of 11 people found the following review helpful.
superb - the best account yet
By A Customer
A great, cinematic read - a shame that the estate did not allow photographs, but they never will. Yet this book is so vivid and esxciting that you don't notice the images not being there - you see them in your head. Really tremendous research, so much more objective than the authorized hagiographer Whelan's account, and this will one day be a movie - it just feels so right. A great, great tale told very well by Kershaw. Best bio on a photographer ever written.

6 of 7 people found the following review helpful.
AS GOOD AS IT GETS
By A Customer
This book is a story, told to be thrilling and informative and will stand the test of time as the best book written about the trade of war photography. It should be a film because the action and character development are well plotted. And if you want to know, close up, about the great moments of the last century, then here is a ring-side seat on history in the making too. Inspiring stuff. If only there were more biographies written like this.

See all 6 customer reviews...

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