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A compelling biography of the Polish painter and writer Józef Czapski that takes readers to Paris in the Roaring Twenties, to the front lines during WWII, and into the late 20th-century art world. Józef Czapski (1896–1993) lived many lives during his ninety-six years. He was a student in Saint Petersburg during the Russian Revolution and a painter in Paris in the roaring twenties. As a Polish reserve officer fighting against the invading Nazis in the opening weeks of the Second World War, he was taken prisoner by the Soviets. For reasons unknown to this day, he was one of the very few excluded from Stalin’s sanctioned massacres of Polish officers. He never returned to Poland after the war, but worked tirelessly in Paris to keep alive awareness of the plight of his homeland, overrun by totalitarian powers. Czapski was a towering public figure, but painting gave meaning to his life. Eric Karpeles, also a painter, reveals Czapski’s full complexity, pulling together all the threads of this remarkable life.
What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.
Existing in myriad forms, containing multitudes in its reflection, and coursing through each and every one of us, water sustains the world around us--and life itself.
A compelling read, Very Little ... Almost Nothing opens up new ways of understanding finitude, modernity and the nature of imagination. Revised edition with a new preface by the author.
The story of a kind of poverty in America so deep that we, as a country, don't even think exists--from a leading national poverty expert who "defies convention" (New York Times)
A history of electricity and electronics, and how the electron at first bothered mankind, then gradually became useful, and now dominates our lives.
Ludwig Mies van der Rohe (1886-1969) undoubtedly is one of the most significant and influential architects ever. His designs and realized buildings, as well as his thinking and writings, until the present day continue to initiate many controversial debates on achievement and failure in modern architecture. Yet not only architects and urban designers have been inspired or appalled by Mies van der Rohe. This new book demonstrates that his influence reaches far beyond the boundaries of the professional architecture world. Almost Nothing collects work by one-hundred painters, sculptors, photographers, film directors, designers, cartoonists, and architects that comment on or appropriate buildings, designs, and statements by or images of the legendary architect. The works also form a hundredfold re-interpretation of Mies van der Rohe's life and oeuvre. New York-based architect and writer Christian Bjone in his complementing text provides rich background information on the individual artists and the depicted art works. The books' title refers to a statement by Mies van der Rohe himself on one of his celebrated masterpieces, Crown Hall on IIT campus in Chicago, which combines ingeniously simplicity with complexity.
Unimpressed with the few packaged tours that she experienced, the author launched upon the research of worldwide independent travel that would ultimately lead to the publication of How to Go Almost Anywhere for Nothing and to a new career as a writer on travel, consumer and women’s issues. She has traveled extensively in Asia, Europe, North Africa and America. --from the Introduction I began a quest for information on REALLY cheap travel. I researched an extraordinary amount of published material and then embarked upon many years of travel and research in the United States and abroad. I have now traveled extensively and at very little expense in Asia, North America, Europe and a bit in Africa. The scope of this particular volume will necessarily focus on areas with which I have the greatest familiarity. Southeast Asia remains a favorite because of the low ground costs, and the most detailed information will cover Asian ports of call such as Hong Kong, Malaysia, Thailand and Singapore, with some reference to specific destinations within Europe and the United States. My latest major trip was to Morocco, and that country is covered in this edition. In the United States, the largest port of entry cities will get the most attention, not only because three of my favorite cities fall into this category, but for the benefit of visitors from other lands. The principles outlined herein should pertain to travel almost everywhere and you will be able to apply them with just a little bit of courage and imagination.
Poetic and sparse, a bedtime story told by the elements.
Until now, writings about the architect/landscape architect Georges Descombes have been relatively limited, appearing primarily in publications in Switzerland and abroad as conversations, interviews, and conference proceedings; most of them have appeared only in French. However, during his forty years of practice, Descombes has developed and applied a method unique to landscape architecture, one in which an extremely broad vision, both scientifically and culturally, shapes his thinking and projects. Descombes enters each project by attempting to understand the existing conditions on site and how, using minimal means and interventions, those conditions can be modified to meet the requirements of the program and those appropriate to the natural or urban environment. To some critics it would appear that Descombes has always done too little on and to the site, and in some instances have condemned him for "doing almost nothing." Although simplicity usually demands greater concentration and study, it often yields greater rewards that result from just that restraint. Perhaps how we approach the world is more important that how we shape the world. Descombes's landscapes are instructive in this regard. In our current era, the concern for the planet as a whole, its dwindling resources, the despoiling of its air, water, and land, and an exploding population have skewed the profession's focus toward sustainability, ecology, resilience, and other related concerns. In the process, the social role played by landscape architecture has been lessened, if not forgotten, and the role of form, space, composition, and materials--that is to say the aesthetic dimension of landscape design--has become a distant concern. Descombes's practice strikes that vital balance between effective environmental performance and the ethical creation of beauty. Instead of favoring one pursuit over the other, or relying on a delimiting specialization, he works in a way that may be justifiably regarded as both/and rather than either/or - a comprehensive vision that weds nature and culture, landscape and architecture, people and milieu.