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Hidden amongst the hills and mountains of southern Vermont are the remnants of sixty former ski areas, their slopes returning to forest and their lifts decaying. Today, only fourteen remain open and active in southern Vermont. Though they offer some incredible skiing, most lack the intimate, local feel of these lost ski trails. Jeremy Davis, creator of the New England Lost Ski Areas Project, looks into the over-investment, local competition, weather variation, changing skier habits, insurance costs and just plain bad luck that caused these ski areas to succumb and melt back into the landscape. From the family-operated Hogback in Windham County to Clinton Gilbert's farm in Woodstock, where the very first rope tow began operation in the winter of 1934, these once popular ski areas left an indelible trace on the hearts of their ski communities and the history of southern Vermont.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
Over fifty million Americans endure a mysterious environmental illness that renders them allergic to chemicals. Innocuous staples from deodorant to garbage bags wreak havoc on sensitives. No one is born with EI; it often starts with a single toxic exposure. Symptoms include extreme fatigue, brain fog, muscle aches, inability to tolerate certain foods. Broudy investigates this disease, and delves into the intricate, ardent subculture that surrounds it--Adapted from jacket
Amid the sublime beauty of Maine—its primordial forests, remote lakes, rugged mountains, and craggy coastline blooms a handmade culture fed by heritage, self-sufficiency, and collaboration. Handcrafted Maine: Art, Life, Harvest & Home features lively profiles of more than twenty artists, artisans, and craftspeople—weavers and potters, a painter, an architect, a boatbuilder, a leatherworker, bakers, lobster-men, and more—at work in the woods, towns, and cities of Maine, celebrating the triumphs and challenges of entrepreneurship and independence. Including more than 225 inspiring color photographs and intimate narrative portraits, Handcrafted Maine provides a window into the inner lives of creatives and brings to life the powerful environment and spirited character that nurture the unbridled ingenuity and common-sense approach to craft and life found Down East.
Reinhold Rücker Angerstein was an eighteenth-century industrial spy. He travelled widely in Europe in the 1750s, supported by the Swedish government, gathering information about trade and emerging technology. The diary of his trip to Britain is extraordinary for its quality of observation and insight, its comparative nature and the large number of detailed illustrations. The breadth of its coverage is astounding: coal, tin and copper mines, porcelain factories, iron foundries, smithies and workshops, rolling and slitting mills, chemical factories, water works and so on. This English-language translation provides, for the first time, Angerstein's work in accessible form. It will be of immense significance to historians of the period.