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Reprint of the original, first published in 1875.
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American national trade bibliography.
How humans' aesthetic perceptions have shaped other life forms, from racehorses to ornamental plants. Humans have bred plants and animals with an eye to aesthetics for centuries: flowers are selected for colorful blossoms or luxuriant foliage; racehorses are prized for the elegance of their frames. Hybridized plants were first exhibited as fine art in 1936, when the Museum of Modern Art in New York showed Edward Steichen's hybrid delphiniums. Since then, bio art has become a genre; artists work with a variety of living things, including plants, animals, bacteria, slime molds, and fungi. Many commentators have addressed the social and political concerns raised by making art out of living material. In Green Light, however, George Gessert examines the role that aesthetic perception has played in bio art and other interventions in evolution. Gessert looks at a variety of life forms that humans have helped shape, focusing on plants—the most widely domesticated form of life and the one that has been crucial to his own work as an artist. We learn about pleasure gardens of the Aztecs, cultivated for intoxicating fragrance; the aesthetic standards promoted by national plant societies; a daffodil that looks like a rose; and praise for weeds and wildflowers.
Winner of the 2008 Prix de la Traduction Littéraire presented by French Community of Belgium The second of Maeterlinck's four celebrated nature essays—along with those on the life of the bee, ant, and termite—"The Intelligence of Flowers" (1907) represents his impassioned attempt to popularize scientific knowledge for an international audience. Writing with characteristic eloquence, Maeterlinck asserts that flowers possess the power of thought without knowledge, a capacity that constitutes a form of intelligence. Appearing one hundred years after the first publication, Philip Mosley's new translation of the original French essay, and the related essay "Scents," maintains the verve of Maeterlinck's prose and renders it accessible to the present-day reader. This is a book for those who are excited by creative encounters between literature and science as well as current debates on the relationship of humankind to the natural world.
Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin's writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen's Library Edition of the Works of John Ruskin. Volume 39, general index.