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Located at 8,000 feet, 20 miles southwest of Salt Lake City in the Oquirrh Mountains, the Bingham Canyon copper mine is the largest manmade excavation in the world. More than half a mile deep, with a rim nearly three miles in width and a smelter stack only 35 feet shorter than the Empire State Building, Bingham has produced more copper than any mine in history. This volume presents San Francisco-based photographer Michael Light's series of breathtaking black-and-white aerial images of the Bingham Mine and Garfield Stack taken in the course of a single day. For the last several years, Light has become known for his aerial photos of the settled and unsettled areas of the American West, which reveal a fascination with geology, mapping and human impact on the land. These series have been published as limited edition, critically acclaimed artist's books; this is Light's first trade-edition release.
Railroads and mining in Bingham Canyon have gone hand in hand since the first railroad was constructed in the canyon in late 1873. Bingham Canyon in the early years was a gold and silver mining camp, and the railroads were small operations. Copper mining took hold in the late 1890s, and the mines, mining companies, and railroads that served them expanded rapidly. Bingham Canyon soon became the largest and richest mining district in the western United States and was the source for as much as a third of the copper mined in the nation. A variety of locomotives worked in the canyon, including a small number of Shay locomotives, several large articulated steam locomotives, and the nation's largest roster of electric locomotives. The last Bingham Canyon ore train ran in late 2001. While the railroad tracks have been removed, the mine itself is very much in full production and remains the source for 25 percent of the nation's copper production.
Emerging Landscapes brings together scholars and practitioners working in a wide range of disciplines within the fields of the built environment and visual arts to explore landscape as an idea, an image, and a material practice in an increasingly globalized world. Drawing on the synergies between the fields of architecture and photography, this collection takes a multidisciplinary approach, combining practice-based research with scholarly essays. It explores and critically reassesses the interface between representation - the imaginary and symbolic shaping of the human environment - and production - the physical and material changes wrought on the land. At a time of environmental crisis and the ’end of nature, ’shifting geopolitical boundaries and economic downturn, Emerging Landscapes reflects on the state of landscape and its future, mapping those practices that creatively address the boundaries between possibility, opportunity and action in imagining and shaping landscape.
Between July 1945 and November 1962 the United States is known to have conducted 216 atmospheric and underwater nuclear tests. After the Limited Test Ban Treaty between the United States and the Soviet Union in 1963, nuclear testing went underground. It became literally invisible—but more frequent: the United States conducted a further 723 underground tests, the last in 1992. 100 Suns documents the era of visible nuclear testing, the atmospheric era, with one hundred photographs drawn by Michael Light from the archives at Los Alamos National Laboratory and the U.S. National Archives in Maryland. It includes previously classified material from the clandestine Lookout Mountain Air Force Station based in Hollywood, whose film directors, cameramen and still photographers were sworn to secrecy. The title, 100 Suns, refers to the response by J.Robert Oppenheimer to the world’s first nuclear explosion in New Mexico when he quoted a passage from the Bhagavad Gita, the classic Vedic text: “If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendor of the Mighty One . . . I am become Death, the destroyer of worlds.” This was Oppenheimer’s attempt to describe the otherwise indescribable. 100 Suns likewise confronts the indescribable by presenting without embellishment the stark evidence of the tests at the moment of detonation. Since the tests were conducted either in Nevada or the Pacific the book is simply divided between the desert and the ocean. Each photograph is presented with the name of the test, its explosive yield in kilotons or megatons, the date and the location. The enormity of the events recorded is contrasted with the understated neutrality of bare data. Interspersed within the sequence of explosions are pictures of the awestruck witnesses. The evidence of these photographs is terrifying in its implication while at same time profoundly disconcerting as a spectacle. The visual grandeur of such imagery is balanced by the chilling facts provided at the end of the book in the detailed captions, a chronology of the development of nuclear weaponry and an extensive bibliography. A dramatic sequel to Michael Light’s Full Moon, 100 Suns forms an unprecedented historical document.
William Fox's writing for the last several years has been focused on how we construct aerial views, either physically (by flying) or in our imaginations. In Aereality, he flies over earthworks in Nevada and Utah, soars through the world's largest open pit mine, and surveys Los Angeles, circumnavigating large swaths of true American urban sprawl. On the East Coast, he examines the elevated art of the Hudson River Valley and New York City. And finally, in Australia, Fox examines the history and current practice of both Euro–Australian and Aboriginal aerial views, and searches for the cognitive roots of our aerial imagination. Accompanying Fox throughout his travels is a rolling cast of enlightened fliers: geographers, museum curators, landscape photographers, anthropologists, and artists. He traverses the sky in prop planes, helicopters, and hot air balloons, all with the ultimate goal of knowing and experiencing the earth from the air.
Tourette_Journal looks at architecture as a loose and ever-changing discipline, dealing with everything spatial directly and by way of digital culture, shifting institutional ground, political and sociological issues, representational modes, drones and gorillas. Tourette recognizes the power of architectural discourse in the shaping of the discipline and the profession, and wishes to provide an open platform for the proliferating of ideas, debate and disagreement on issues related to the project of architecture in contemporary culture.
The most thrilling of all journeys--the missions of the Apollo astronauts to the surface of the Moon and back--yielded 32,000 extraordinarily beautiful photographs, the record of a unique human achievement. Until recently, only a handful of these photographs had been released for publication; but now, for the first time, NASA has allowed a selection of the master negatives and transparencies to be scanned electronically, rendering the sharpest images of space that we have ever seen. Michael Light has woven 129 of these stunningly clear images into a single composite voyage, a narrative of breathtaking immediacy and authenticity that begins with the launch and is followed by a walk in space, an orbit of the Moon, a lunar landing and exploration, and a return to Earth with an orbit and splashdown. Graced by five 45-inch-wide gatefolds that display the lunar landscape, from above the surface and at eye level, in unprecedented detail and clarity, Full Moon conveys on each page the excitement, disorientation, and awe that the astronauts themselves felt as they were shot into space and then as they explored an alien landscape and looked back at their home planet from hundreds of thousands of miles away. Published on the thirtieth anniversary of Apollo 11--the first landing on the Moon--this remarkable and mesmerizing volume is, like the voyages it commemorates and re-creates, an experience both intimate and monumental.
Aerial and on-site photographs made at a classified military site in the Great Salt Lake Desert by David Maisel, author of Black Maps David Maisel's (born 1961) Proving Ground comprises aerial and on-site photographs made at Dugway Proving Ground, a classified military site covering nearly 800,000 acres in Utah's Great Salt Lake Desert. A primary mission of Dugway is to develop, test and implement chemical and biological weaponry and defense programs. After more than a decade of inquiry, Maisel was granted access to this facility in order to photograph the terrain, the testing facilities and other aspects of the site. Maisel began by photographing at ground level, focusing on structures related to the testing of chemical warfare dispersal patterns. He then moved to an aerial perspective to create images that resemble large-scale minimalist drawings inscribed on the land. Maisel's work at Dugway also includes photographs of the newly minted WSLAT (Whole System Live Agent Test) facility, which is devoted to identification and neutralization of chemical and biological toxins that can be weaponized by terrorists or rogue nations.
In addition to being the most bitter industrial dispute the coalminers' strike of 1984/5 was the longest national strike in British history. For a year over 100,000 members of the National Union of Mineworkers, their families and supporters, in hundreds of communities, battled to prevent the decimation of the coal industry on which their livelihoods and communities depended. Margaret Thatcher's government aimed to smash the most militant section of the British working class. She wanted to usher in a new era of greater management control at work and pave the way for a radical refashioning of society in favour of neo-liberal objectives that three decades later have crippled the world economy.Victory required draconian restrictions on picketing and the development of a militarised national police force that made widespread arrests as part of its criminalisation policy. The attacks on the miners also involved the use of the courts and anti-trade union laws, restrictions on welfare benefits, the secret financing by industrialists of working miners and the involvement of the security services. All of which was supported by a compliant mass media but resisted by the collective courage of miners and mining communities in which the role of Women against Pit Closures in combating poverty and starvation was heroic. Thus inspired by the struggle for jobs and communities an unparalleled movement of support groups right across Britain and in other parts of the world was born and helped bring about a situation where the miners long struggle came close on occasions to winning.At the heart of the conflict was the Yorkshire region, where even at the end in March 1985, 83 per cent of 56,000 miners were still out on strike. The official Yorkshire National Union of Mineworkers (NUM) area photographer in 1984-85 was the late Martin Jenkinson and this book of his photographs some never previously seen before - serves as a unique social document on the dispute that changed the face of Britain.As featured in The Yorkshire Times, Sheffield Telegraph and NUJ News Leeds.
Drawing from the vast photography collection at the San Francisco Museum of Modern Art, American Geography charts a visual history of land use in the United States From the earliest photographic records of human habitation to the latest aerial and digital pictures, from almost uninhabited desert and isolated mountainous territories to suburban sprawl and densely populated cities, this compilation offers an increasingly nuanced perspective on the American landscape. Divided by region, these photographs address ways in which different histories and traditions of land use have given rise to different cultural transitions: from the Midwestern prairies and agricultural traditions of the South, to the riverine systems in the Northeast, and the environmental challenges and riches of the far West. American Geography also looks at the evidence of older habitation from the adobe dwellings and ancient cultures of the Southwest to the Midwestern mounds, many of them prehistoric. SFMOMA's last photography exhibition to consider land use, Crossing the Frontier (1996), examined only the American West. At the time, this focus offered a different way to think about landscape, and a useful way to reconsider pictures of the region. American Geography expands upon the groundwork laid by Crossing the Frontier, providing a complex, thought-provoking survey. Photographers include: Carleton E. Watkins, Barbara Bosworth, Lee Friedlander, Stephen Shore, Debbie Fleming Caffery, Mitch Epstein, An-My Lê, William Eggleston, Alec Soth, Mishka Henner, Trevor Paglen, Victoria Sambunaris, Emmet Gowin, Robert Adams, Terry Evans, Dorothea Lange and Mark Ruwedel, among others.