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As ecology becomes the new engineering, the projection of landscape as infrastructure—the contemporary alignment of the disciplines of landscape architecture, civil engineering, and urban planning— has become pressing. Predominant challenges facing urban regions and territories today—including shifting climates, material flows, and population mobilities, are addressed and strategized here. Responding to the under-performance of master planning and over-exertion of technological systems at the end of twentieth century, this book argues for the strategic design of "infrastructural ecologies," describing a synthetic landscape of living, biophysical systems that operate as urban infrastructures to shape and direct the future of urban economies and cultures into the 21st century. Pierre Bélanger is Associate Professor of Landscape Architecture and Co-Director of the Master in Design Studies Program at Harvard University’s Graduate School of Design. As part of the Department of Landscape Architecture and the Advansed Studies Program, Bélanger teaches and coordinates graduate courses on the convergence of ecology, infrastructure and urbanism in the interrelated fields of design, planning and engineering. Dr. Bélanger is author of the 35th edition of the Pamphlet Architecture Series from Princeton Architectural Press, GOING LIVE: from States to Systems (pa35.net), co-editor with Jennifer Sigler of the 39th issue of Harvard Design Magazine, Wet Matter, and co-author of the forthcoming volume ECOLOGIES OF POWER: Mapping Military Geographies & Logistical Landscapes of the U.S. Department of Defense. As a landscape architect and urbanist, he is the recipient of the 2008 Canada Prix de Rome in Architecture and the Curator for the Canada Pavilion ad Canadian Exhibition, "EXTRACTION," at the 2016 Venice Architecture Biennale (extraction.ca).
"Sergei Eisenstein (1898-1948), creator of such masterpieces as Battleship Potemkin, Alexander Nevsky and Ivan the Terrible, was perhaps the greatest of all film directors. He wrote his autobiography in 1946, two years before his death, and it is a work of major importance in the light it sheds on his personality and mercurial genius. Vivid, eccentric and free-ranging, Immoral Memories is written in a style reminiscent of the brilliant visual effects of montage and dynamic progression that characterize its author's film-making technique. He recounts his life in Russia from the time of the Revolution, during which he served in the Bolshevik army as a volunteer, his travels in the West and his encounters with a remarkable medley of individuals during his long career. He gives us unique insights, too, into his triumphs and tribulations. His disappointments and despair were exemplified by the banning of the film Ivan the Terrible, Part II, which was not released until fifteen years after his death. And he never expected his autobiography to be published in Russia. Yet in answer to his query "Has there been life" he replied that there had been "life lived acutely, joyously, tormentedly, at times even sparkling, unquestionably colourful, and such a life that, I suppose, I would not exchange for another""--Publisher's description.
Three people living in Tel Aviv, Haifa, and Jerusalem embark on distinct journeys that converge at “the file”; their efforts to admit Palestine to the Olympics in the early twentieth century. Their pivotal roles in history have been purposely omitted from official record, kept secret, or forgotten. Why? Because of the “Nazi Olympics” in 1936 in Berlin. And because of the death in 1972 of eleven Israeli Olympic athletes in the Munich Massacre. This book narrates the previously untold history of a Palestine Olympic Committee recognized before the creation of the State of Israel in 1948. It sheds light on some of the darkest events in sport history, exposing secretive relationships behind the doors of the Jerusalem YMCA, Nazi agitation, arrests, internments, and other intrigue in the complicated history of Israeli and Palestinian sport. The File breaks new ground at the intersection of sport and politics—illuminating the hope, tension, and horror of the 20s, 30s, and 40s, the creation of the State of Israel and the Palestinian refugees, and the resulting guerrilla attack at the Olympics in Munich in 1972—and reveals a handful of heroes whose impact on athletes and international sport competitions is still felt today. Consultant and researcher San Charles Haddad weaves a true and masterful tale of forgotten personalities in a conflict characterized by unabated venom, bringing hope and new questions in his wake. What will be the future of Israel and Palestine, and how might sport play a restorative role in the twenty-first century?
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn
Cornell University is fortunate to have as its historian a man of Morris Bishop's talents and devotion. As an accurate record and a work of art possessing form and personality, his book at once conveys the unique character of the early university—reflected in its vigorous founder, its first scholarly president, a brilliant and eccentric faculty, the hardy student body, and, sometimes unfortunately, its early architecture—and establishes Cornell's wider significance as a case history in the development of higher education. Cornell began in rebellion against the obscurantism of college education a century ago. Its record, claims the author, makes a social and cultural history of modern America. This story will undoubtedly entrance Cornellians; it will also charm a wider public. Dr. Allan Nevins, historian, wrote: "I anticipated that this book would meet the sternest tests of scholarship, insight, and literary finish. I find that it not only does this, but that it has other high merits. It shows grasp of ideas and forces. It is graphic in its presentation of character and idiosyncrasy. It lights up its story by a delightful play of humor, felicitously expressed. Its emphasis on fundamentals, without pomposity or platitude, is refreshing. Perhaps most important of all, it achieves one goal that in the history of a living university is both extremely difficult and extremely valuable: it recreates the changing atmosphere of time and place. It is written, very plainly, by a man who has known and loved Cornell and Ithaca for a long time, who has steeped himself in the traditions and spirit of the institution, and who possesses the enthusiasm and skill to convey his understanding of these intangibles to the reader." The distinct personalities of Ezra Cornell and first president Andrew Dickson White dominate the early chapters. For a vignette of the founder, see Bishop's description of "his" first buildings (Cascadilla, Morrill, McGraw, White, Sibley): "At best," he writes, "they embody the character of Ezra Cornell, grim, gray, sturdy, and economical." To the English historian, James Anthony Froude, Mr. Cornell was "the most surprising and venerable object I have seen in America." The first faculty, chosen by President White, reflected his character: "his idealism, his faith in social emancipation by education, his dislike of dogmatism, confinement, and inherited orthodoxy"; while the "romantic upstate gothic" architecture of such buildings as the President's house (now Andrew D. White Center for the Humanities), Sage Chapel, and Franklin Hall may be said to "portray the taste and Soul of Andrew Dickson White." Other memorable characters are Louis Fuertes, the beloved naturalist; his student, Hugh Troy, who once borrowed Fuertes' rhinoceros-foot wastebasket for illicit if hilarious purposes; the more noteworthy and the more eccentric among the faculty of succeeding presidential eras; and of course Napoleon, the campus dog, whose talent for hailing streetcars brought him home safely—and alone—from the Penn game. The humor in A History of Cornell is at times kindly, at times caustic, and always illuminating.
Accounts of all known fatal mishaps in Yosemite National Park.