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The Pollen Loads of the Honeybee by Dorothy Hodges, an artist and experienced beekeeper, was first published 1952. It included drawings of pollen grains which will never be surpassed. The originals are preserved at the Royal Botanic Gardens, Kew. This booklet, published by IBRA, reproduces these drawings. Dorothy Hodges was a trained artist with an artist's acute powers of observation as well as being a beekeeper. In 1946 she had the idea of making a colour chart of pollen loads. It took several years for her ideas to gestate but the glorious outcome was the publication, by the then Bee Research Association, of The Pollen Loads of the Honeybee in 1952. Designed as a very practical guide for beekeepers, the importance of the book was immense and it has long since risen from being a humble textbook and guide to a much sought after collectors' item. Its rarity and importance mean that it is no longer easily obtainable and so difficult for the ordinary beekeeper to appreciate its contents. For this very reason IBRA has decided to reproduce Mrs Hodges's delicate drawings of pollen grains as a separate publication and in so doing hopefully make her work known to other generations of beekeepers. Although the painstakingly produced colour charts of the original book still have their value it would.not be possible to reproduce them with sufficient accuracy to do justice to the original work. However, the drawings lend them-selves to reasonable reproduction. They are of outstanding artistic merit and offer the possibility of identifying the pollen forms which are most frequently collected by bees. For beginners these drawings will do good service as an introduction to the pollen analysis of honey. The drawings need no explanation other than a name - the family group, the Latin scientific name and the common English name - thus making the book independent of language barriers. This means it can be appreciated in many countries where the original work was unknown or is now out of reach because of rarity and cost. The cover is taken from Dorothy Hodges own watercolour painting that she suggested might adorn the dust jacket of the original publication. The artwork was not used and so this booklet allows it to be seen publicly for the first time in almost sixty years. Finally, for the convenience of the reader, the actual pollen drawings retain the same page, numbers as the plates in the original book. Richard Jones Former Director, IBRA October 2009
Gold Pollen and Other Stories collects a handful of Hayashi's most important manga from his reigning years during the late 60s and early 70s. Memorable examples include Red Dragonfly (1968), Yamauba's Lullaby (1968), and Gold Pollen (1971). Published here in original full colour, these stories mix traditional Japanese aesthetics with pop Art sensibilities, and range in topic from the legacies of Japanese right-wing nationalism and Second World War, to the shadow of America over 1960s Japanese youth culture.
Handboek voor de beginner en ervaren bijenhouder, met onderwerpen als: het bijengedrag, de jaarlijkse bezigheden, de koningin, ziektes, de bloemen die belangrijke honingleveranciers zijn, het honingoogsten
Pebbles are usually found only on the beach, in the liminal space between land and sea. But what happens when pebbles extend inland and create a ridge brushing against the sky? Landscape in the Longue Durée is a 4,000 year history of pebbles. It is based on the results of a four-year archaeological research project of the east Devon Pebblebed heathlands, a fascinating and geologically unique landscape in the UK whose bedrock is composed entirely of water-rounded pebbles. Christopher Tilley uses this landscape to argue that pebbles are like no other kind of stone – they occupy an especial place both in the prehistoric past and in our contemporary culture. It is for this reason that we must re-think continuity and change in a radically new way by considering embodied relations between people and things over the long term. Dividing the book into two parts, Tilley first explores the prehistoric landscape from the Mesolithic to the end of the Iron Age, and follows with an analysis of the same landscape from the eighteenth into the twenty-first century. The major findings of the four-year study are revealed through this chronological journey: from archaeological discoveries, such as the excavation of three early Bronze Age cairns, to the documentation of all 829 surviving pebble structures, and beyond, to the impact of the landscape on local economies and its importance today as a military training camp. The results of the study will inform many disciplines including archaeology, cultural and art history, anthropology, conservation, and landscape studies.
If we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes' "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina's graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away.