Friday, 31 May 2013

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0137003846 / 9780137003846 MyAutomotiveLab -- Access Card

  • Sales Rank: #8871523 in Books
  • Published on: 2009-02-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.10" h x 3.10" w x 9.40" l, 11.25 pounds
  • Binding: Hardcover

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Thursday, 30 May 2013

[E383.Ebook] Free PDF It's All about Nutrition: Saving the Health of Americans, by David Bissonnette

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It's All about Nutrition: Saving the Health of Americans, by David Bissonnette

It’s All about Nutrition is an introductory textbook designed specifically to capture the interest of general education students in nutrition. Students will want to read this textbook in its entirety, as David Bissonnette draws them into a more thoughtful study of the field of nutrition. He paints a backdrop describing the origins of our current dietary practices, nutrition within the history of human health, the emergence of the science of nutrition, the history of the U.S. food industry, and the prevalence of malnutrition in the United States during the 1930s. Within these historical contexts, It’s All about Nutrition describes vitamin and mineral deficiencies, the obesity epidemic, family nutrition, chronic disease, and world hunger to offer readers a comprehensive look at the field of nutrition in the United States.

  • Sales Rank: #1866832 in Books
  • Published on: 2014-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.94" h x .56" w x 8.52" l, .0 pounds
  • Binding: Paperback
  • 232 pages

About the Author
David Bissonnette is a registered dietitian and associate professor of nutrition at Minnesota State University, Mankato. He has held academic positions at St. Francis Xavier University and McGill University in Canada.

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Tuesday, 28 May 2013

[M748.Ebook] Download Ebook Python and HDF5, by Andrew Collette

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Python and HDF5, by Andrew Collette

Gain hands-on experience with HDF5 for storing scientific data in Python. This practical guide quickly gets you up to speed on the details, best practices, and pitfalls of using HDF5 to archive and share numerical datasets ranging in size from gigabytes to terabytes.

Through real-world examples and practical exercises, you’ll explore topics such as scientific datasets, hierarchically organized groups, user-defined metadata, and interoperable files. Examples are applicable for users of both Python 2 and Python 3. If you’re familiar with the basics of Python data analysis, this is an ideal introduction to HDF5.

  • Get set up with HDF5 tools and create your first HDF5 file
  • Work with datasets by learning the HDF5 Dataset object
  • Understand advanced features like dataset chunking and compression
  • Learn how to work with HDF5’s hierarchical structure, using groups
  • Create self-describing files by adding metadata with HDF5 attributes
  • Take advantage of HDF5’s type system to create interoperable files
  • Express relationships among data with references, named types, and dimension scales
  • Discover how Python mechanisms for writing parallel code interact with HDF5

  • Sales Rank: #391018 in Books
  • Published on: 2013-11-11
  • Released on: 2013-11-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.19" h x .30" w x 7.00" l, .57 pounds
  • Binding: Paperback
  • 152 pages

About the Author

Andrew Collette holds a Ph.D. in physics from UCLA, and works as a laboratory research scientist at the University of Colorado. He has worked with the Python-NumPy-HDF5 stack at two multimillion-dollar research facilities; the first being the Large Plasma Device at UCLA (entirely standardized on HDF5), and the second being the hypervelocity dust accelerator at the Colorado Center for Lunar Dust and Atmospheric Studies, University of Colorado at Boulder. Additionally, Dr. Collette is a leading developer of the HDF5 for Python (h5py) project.

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13 of 13 people found the following review helpful.
Get this Book Now!
By Al
Andrew Collette's "Python and HDF5" is a welcome, overdue, and timely addition to the Python canon. h5py, an interface to HDF5 in Python, has become the proverbial "gateway drug" into HDF5 for most; however, h5py lacked for some time what this book now delivers--- a clear, concise, example-ridden text that teaches even the most novice of Python users how to leverage HDF5.

The author assumes minimal familiarity with Python and numpy; however, in the event you're coming at this cold, chapter 2 walks you through the basics. The author continues with datasets (as he writes, "the central feature of HDF5"). After that, you're off and running and free to explore the remaining sections on chunking and compression, hierarchy, external links, attributes, etc. He even includes a section on parallel HDF5 with mpi4py (a welcome surprise).

As someone who's aimlessly "Googled" his way through h5py in the past, I have to say this book is worth every penny. It's all here. Let this book and Python shape the way you think about HDF5, and maybe for the first time, you will see its simplicity.

10 of 10 people found the following review helpful.
An excellent technical read, concise, professional
By A. Zubarev
It is probably yesterday’s news that Python is the de facto programming language for anything Data Science. And the latest book on Python and HDF5 integration is a more recent proof to that.

I want to state here that it seems to be the ONLY book on the market today on the becoming increasingly popular self contained data storage and manipulation format HDF5 that explains how to program against it in Python at an enterprise level.

Even though it is a book review, let me briefly explain that HDF5 is a database like, hierarchical file structure closely resembling the early file-based databases implementing Balanced Tree indexing for fast data retrieval. The fact the file is self contained helps keep data, attributes and even computational results together for transparent data exchange, in fact it is so inter-operating platforms exchange-ready it takes complete care of the platform differences as little-endian versa big-endian for example, and boy Andrew knows how to explain that in the book!

Actually, the book has made me aware of how important it is to use proper technologies when you have no idea where (here platform) your data will be consumed.

As a brief side note, myself I programmed hierarchical data structures for fats data retrieval in the early 90s, in C, not even knowing they are called B-Trees. And the concept has such a broad implementation.

So in short, the book is excellent, written in a concise, professional manner (between me and you, 0 volume inflating fluff).

The author has made sure the book is full of useful examples covering each nuance or an important feature so reading this book feels natural and logical. I am also glad the author devoted a significant effort to convey to a developer ( I hate the word ‘programmer’ :-) ) on the proper methods of concurrent programming, which is what a pity – a common omission in many beginners’ books.

I am sure this book will make you going or will let you start coding against HDF5 in no time. I am sure this book will be used as a table reference (or on your computer desktop).

I am giving this book a 5 out of 5 rating, kudos to O’Reilly that has delivered yet another outstanding publication.

Disclaimer: This book was given to me for free as part of the blogger review program by O'Reilly Media.

0 of 0 people found the following review helpful.
Five Stars
By LPO
Excellent discussion and demonstration of the combination of 2 big data powerhouse technologies. Very well written and accessible.

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Monday, 27 May 2013

[K321.Ebook] Download Narrative of the Life of Frederick Douglass, an American Slave (Oxford World's Classics), by Frederick Douglass

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Narrative of the Life of Frederick Douglass, an American Slave (Oxford World's Classics), by Frederick Douglass

"I was born in Tuckahoe. I have no accurate knowledge of my age, never having seen any authentic record containing it. By far the larger part of the slaves know as little of their ages as horses know of theirs, and it is the wish of most masters within my knowledge to keep their slaves thus ignorant."

So begins the now-classic personal account of Frederick Douglass (1818-1895), who was born into slavery in Maryland and after his escape to Massachusetts in 1838 became an ardent abolitionist and campaigner for women's rights. His Narrative, which was an instant bestseller upon publication in 1845, relates his experience as a slave, the cruelty he suffered at the hands of his masters, his struggle to educate himself, and his fight for freedom.

Written with much passion, and with no small degree of striking biblical imagery, the Narrative came to assume epic proportions as a fundamental anti-slavery text, an accessible record in which the author had carefully crafted both his life story and his persona. The introduction and notes for this new edition fully examine Douglass--the man and the myth--while also considering both his complex relationship with women and the enduring power of his autobiography. Other highlights include extracts from Douglass's primary sources and examples of his writing on women's rights.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

  • Sales Rank: #977088 in Books
  • Brand: Douglass, Frederick/ McDowell, Deborah E. (EDT)
  • Published on: 2009-05-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 5.00" h x .50" w x 7.50" l, .30 pounds
  • Binding: Paperback
  • 176 pages

From School Library Journal
Grade 9 Up-This classic text in both American literature and American history is read by Pete Papageorge with deliberation and simplicity, allowing the author's words to bridge more than 160 years to today's listeners. Following a stirring preface by William Lloyd Garrison (who, nearly 20 years after he first met Douglass, would himself lead the black troops fighting from the North in the Civil War), the not-yet-30-year-old author recounts his life's story, showing effective and evocative use of language as well as unflinchingly examining many aspects of the Peculiar Institution of American Slavery. Douglass attributes his road to freedom as beginning with his being sent from the Maryland plantation of his birth to live in Baltimore as a young boy. There, he learned to read and, more importantly, learned the power of literacy. In early adolescence, he was returned to farm work, suffered abuse at the hands of cruel overseers, and witnessed abuse visited on fellow slaves. He shared his knowledge of reading with a secret "Sunday school" of 40 fellow slaves during his last years of bondage. In his early 20's, he ran away to the North and found refuge among New England abolitionists. Douglass, a reputed orator, combines concrete description of his circumstances with his own emerging analysis of slavery as a condition. This recording makes his rich work available to those who might feel encumbered by the printed page and belongs as an alternative in all school and public library collections.
Francisca Goldsmith, Berkeley Public Library, CA
Copyright 2002 Reed Business Information, Inc.

Review
Douglass did not know much about himself. Rather vaguely, he was aware that he had been born somewhere around 1817; he had seen his mother "to know her as such" no more than four or five times in his life, usually very briefly and at night, and he grew up knowing nothing better than the life of the stalled ox or the mule, a wholly owned creature with no rights that anyone was bound to respect. More than one hundred years later, [this] account of the things men can do to those who are completely in their power is something to make the blood run cold. If there was a kindly, human side to chattel slavery, this man who lived far outside of the cotton belt, who was for long periods a trusted house servant, who was even hired out (by his owner) to work in a shipyard, far from the eye of the man with the whip--this man, who should have seen that humane side if any slave could see it, never got a glimpse of it. "But for the hope of being free," Douglass wrote, "I have no doubt but that I should have killed myself." (Bruce Catton American Heritage)

Harvard has done us all a service in reviving [Douglass'] most important work. (Jim Walls San Francisco Sunday Chronicle)

From the Publisher
This book is in Electronic Paperback Format. If you view this book on any of the computer systems below, it will look like a book. Simple to run, no program to install. Just put the CD in your CDROM drive and start reading. The simple easy to use interface is child tested at pre-school levels.

Windows 3.11, Windows/95, Windows/98, OS/2 and MacIntosh and Linux with Windows Emulation.

Includes Quiet Vision's Dynamic Index. the abilty to build a index for any set of characters or words.

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353 of 363 people found the following review helpful.
A Woman's Life in Slavery
By Robin Friedman
Harriet Jacobs' (1813-1897) "Incidents in the Life of a Slave Girl" is one of the few accounts of Southern slavery written by a woman. The book was published in 1861 through the efforts of Maria Child, an abolitionist who edited the book and wrote an introduction to it. The book had its origin in a series of letters Jacobs wrote between 1853 and 1861 to her friends in the abolitionist movement, notably a woman named Amy Post. Historically, there was some doubt about the authorship of the book and about the authenticity of the incidents it records. These doubts have largely been put to rest by the discovery of the letters.
The book indeed has elements of a disguise and of a novel. Jacobs never uses her real name but calls herself instead "Linda Brent." The other characters in the book are also given pseudonyms. Jacobs tells us in the Preface to the book (signed "Linda Brent") that she changed names in order to protect the privacy of indiduals but that the incidents recounted in the narrative are "no fiction".
Jacobs was born in slave rural North Carolina. As a young girl, she learned to read and write, which was highly rare among slaves. At about the age of 11 she was sent to live as a slave to a doctor who also owned a plantation, called "Dr. Flint" in the book.
Jacobs book describes well the cruelties of the "Peculiar Institution -- in terms of its beatings, floggings, and burnings, overwork, starvation, and dehumanization. It focuses as well upon the selling and wrenching apart of families that resulted from the commodification of people in the slave system. But Jacobs' book is unique in that it describes first-hand the sexual indignities to which women were subjected in slavery. (Other accounts, such as those of Frederick Douglass, were written by men.) The book is also unusual in that Jacobs does not portray herself entirely as a hero but describes the nature of the steps she took to avoid becoming the sexual slave of Flint. Thus, when Flint subjected her to repeated sexual advances from the time Jacobs reached the age of 16, she tried to avoid him by beginning an affair with a white, single attorney with whom she had two children. When Flint's advances persisted, Jacobs formed the determination to try to secure her freedom.
The bulk of the book describes how Jacobs hid precariously in a cramped attic for seven years waiting for the opporunity to secure her freedom. There are also accounts of her prior attempts to leave slavery, including a particularly harrowing account of several days in a place aptly named "Snaky Swamp."
Jacobs describes her relationship with her grandmother, a free black woman who was probably the major inspiration of her life. She also describes well her love and concern for her children, conceived through the liasion with the white attorney.
This book offers a rare perspective on American slavery as it affected women. It is also a testament, I think, to the value of literacy and knowledge as an instrument for winning and preserving free human life. Although this story is not pretty, it is a testament to human persistence in the face of adversity and to the precious character of human freedom.

154 of 156 people found the following review helpful.
Poignant
By MarvelousMarla
This autobiographical condemnation of the south's Peculiar Institution puts a face on the suffering of the enslaved. American history is full of accounts of slavery which tend to broad overviews of the institution, whereas this book is written by an escaped slave who does not flinch at sharing every detail of her miserable life. Unlike other narratives which distorted the slave's voice through the perspective of the interviewers/authors who were notorious for exaggerating the uneducated slaves' broken english, this book is largely Ms. Jacobs' own words. She was taught to read and write as a child by a kind mistress, so she was able to put her thoughts on paper with clarity that surprised many. Ms. Jacobs had an editor, but this book seems to be her unfiltered view of the world.
It is one thing to hear about how slaveholders took liberties with female slaves, it is quite another to read in stark detail about women being commanded to lay down in fields, young girls being seduced and impregnated and their offspring sold to rid the slaveholder of the evidence of his licentiousness. The author talks about jealous white women, enraged by their husbands' behavior, taking it out on the hapless slaves. The white women were seen as ladies, delicate creatures prone to fainting spells and hissy fits whereas the Black women were beasts of burden, objects of lust and contempt simultaneously. Some slave women resisted these lustful swine and were beaten badly because of it. It was quite a conundrum. To be sure, white women suffered under this disgusting system too, though not to the same degree as the female slaves who had no one to protect them and their virtue. Even the notion of a slave having virtue is mocked. The author rejected the slaveholder's advances and dared to hope that she would be allowed to marry a free black man who loved and respected her. Not only was she not allowed to marry him, she was forbidden to see him or speak to him again.
The author shows us the depth of a mother's love as she suffers mightily to see that her children are not also brought under the yoke of slavery. Though she was able to elude her odious master, she does take up with some other white man in hopes that he would be able to buy her freedom. Her "owner" refuses to sell her and tells her that she and her children are the property of his minor daughter. Her lover seems kind enough as he claims his children and offers to give them his name, and he did eventually buy them, though he failed to emancipate them to spare them from a life of forced servitude. Ms. Jacobs noted that slavery taught her not to trust the promises of white men. Having lived in town most of her life, Ms. Jacobs is sent to the plantation of her master's cruel son to broken in after she continues to refuses his sexual advances. She is resigned to this fate until she learns that her children -- who were never treated like slaves -- were to be brought to the plantation also. It is then that she takes flight.
After enduring 7-years of confinement in cramped quarters under the roof of her grandmother's house, the author escapes to the North which is not quite the haven she imagined. Still, it is better than the south, and she makes friends who buy her freedom leaving her both relieved and bitter that she is still seen as property to be bought and sold like livestock. In New York Ms. Jacobs is reunited with her children and a beloved brother who'd escaped a few years ago while accompanying his master -- her former lover -- to the free states.
There is no fairytale ending to this story because the author endures plenty of abuse and uncertainty even after she makes it to the North. She is hunted down by the relentless slaveowners who were aided by the Fugitive Slave Law of 1850 and "The bloodhounds of the North." This is a wrenching account of this shameful period of American history, and should be required reading for all.

66 of 67 people found the following review helpful.
Still a moving testimony
By Adirondack Views
I often believe it is easy to criticize nineteenth century Americans for not stepping up to the plate regarding the issue of slavery and race in America. Jefferson may well have agonized over the issue he called the "death knell of the nation" and which he labeled a "neccessary evil." Certainly he benefitted by the ownership of nearly 300 slaves, but he grew up in a world in which slavery was the norm. It takes a revoutionary and remarkable man to truly stand against the only world he knows and move to create a different world, so I usually defend Jefferson and his political vision which clearly transcended that world.
Reading Frederick Douglass, however, makes me wonder how anyone with firsthand knowledge of the institution could not see the obvious pain and cruelty which existed right in front of his or her eyes. Douglass's narrative, and particularly his descriptions of the slave trade in Baltimore and the obvious place of the whip (whether used or not) as the principal vehicle of social control argues most eloquently that though the slave system may have been a social norm, the blinders had to be unbelievably thick not to see the horrors that the institution wrought. The relationship of slave and master perpetuated a most un-American (at least in terms of our professed values--cf. Douglass's later antislavery orations) tyranny and oppression. Douglass's narrative testifies that our ancestors could have seen much more and done much more and that 600,000 lives and a subsequent 120 years of racial schism and pain was too much a price to bear for the peculiar institution.

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Sunday, 26 May 2013

[Q361.Ebook] Ebook Free Some People Can't Surf: The Graphic Design of Art Chantry, by Julie Lasky

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Some People Can't Surf: The Graphic Design of Art Chantry, by Julie Lasky

Art Chantry's contrarian ways have placed him in the pantheon of great modern designers. Some People Can't Surf: The Graphic Design of Art Chantry is the first survey of this visual iconoclast, who also designed the book and packed it with hundreds of his vibrant images. Gritty, funny, and refreshingly low-tech, his award-winning work has promoted countless bands, social causes, and non-profits. Tracing Chantry's career from his covers and layouts for the seminal music magazine The Rocket, to album covers for such cult bands as Mudhoney, the Reverend Horton Heat, and the Fastbacks, Some People Can't Surf is a comprehensive look at his creative evolution. Complete with commentary on the unusual origins and unorthodox processes behind his work, as well as providing context for his oft-copied look, Some People Can't Surf is a much-anticipated exploration of this idiosyncratic design master.

  • Sales Rank: #1022491 in Books
  • Brand: Brand: Chronicle Books
  • Published on: 2001-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.30" h x 1.00" w x 9.60" l,
  • Binding: Paperback
  • 144 pages
Features
  • Used Book in Good Condition

Review
It's a little odd, and a more moving sign of aging than seeing gray hair in the mirror, to read a retrospective on the career of someone one's own age, someone with definite roots in the era of punk rock, someone so hip that just as many non-designers know his work as designers. Art Chantry is a man of many styles and all of them feel decidedly in-the-moment, some even in-you-face: the truly DIY poster for an Avengers gig in 1979, the professional yet DIY-look of Rhino Records' 1994 punk reissues, the psycho-billy of a Cramps poster or CDs for Estrus (only one of the coolest labels around) or his deliciously detailed Tool-style posters like the one from 1997 promoting condom use, where the floating cop head warns: "I take one everywhere I take my penis!"

His clients have included Seattle institutions like the Bathhouse, New City, Empty Space, Organic and Repertory Theatres, the Center on Contemporary Art and the Give Peace a Dance and Hempfest benefits. In addition to Estrus and Rhino, he's also designed for Sub Pop, Chuckie-Boy and many smaller record labels like Lucky, Betty and Trash City, and created dozens and dozens of logos and type treatments, each so distinct from the others, it's as though there are just as many designers within that one person. A lot of his work uses collage; for other jobs, he's hired the best illustrators for the job (including R. Crumb, Mad Magazine's Don Martin and the late Ed "Big Daddy" Roth of Rat Fink fame). And he isn't afraid to reference vintage scinece-fiction or distressed newsprint porno ads.

At 47, Chantry still speaks fluent punk. Says 30-year-old deejay Tim Kelly (WMBR), "He's got the whole retro-'60s thing down pat. The Mono Men 'Wrecker!' album is a case in point: the hot go-go girl, the sharp color contrasts--it could be a poster for some lost Russ Meyer flick. You know the Mono Men sound like a dirty garage band just by looking at the record."

Author Julie Lasky's story of first meeting Chantry (in her pajamas?) is charming (but I won't ruin it for you). As she writes, "This book can only hint at the complexities of an underground-lurking, monster-loving, self-described iconoclast who has influenced legions of designers around the world while enlivening Seattle's streets." Lasky, former managing editor of Print and current editor of Interiors, is always entertaining, as is Karrie Jacobs, editor-in-chief of dwell, whose introduction admiringly recalls Chantry from her days working on Seattle's music magazine The Rocket, for which he was the on-and-off art director. Some People Can't Surf is fun to read and even more fun to look at: Chantry's designs will rattle your cage. It'll make you want to shut off the G4, grab an old pulp novel and turn up the stereo. -Communication Arts

About the Author
Julie Lasky is former managing editor of Print magazine and current editor of Interiors. She lives in New York.

Karrie Jacobs met Art Chantry at the Seattle music magazine The Rocket. She has since edited Colors magazine, served as architecture critic for New York magazine, and currently edits Dwell magazine in San Francisco.

Most helpful customer reviews

2 of 5 people found the following review helpful.
A Must Have for any Designer of Anything.
By A Customer
Great cultural perspective of graphic design. Showing a true pioneer whose not gotten much credit until now. Just when you thought all those cool firms with funny names pioneered everything you finally find where they got their ideas. Touché to Mr. Chantry. And touché to those before him even lesser known than he who he owes it all too.

5 of 5 people found the following review helpful.
The Art of Art
By Michael Pinto
In a similar manner to Paula Scher and Charles Anderson, one of the main themes of Art Chantry's work is to take old images and give them a twist. While you can see an echo of this look in almost every graphic design award annual today, Chantry has been working in this style since the late 70's. And while many have borrowed his approach, few have been able to imitate it with the same sense of grit, humor, color and power.
True to the title of the book "Some People Can't Surf" there isn't one website design to be found, but that may not be a bad thing as Chantry is a master within his medium. A very large body of work that spans three decades is showcased which includes everything from his very first poster design for a school concert to promotional work for major Hollywood record labels. One pleasant surprise is seeing quite a bit of logo design work which involves the charm and craft of hand lettering. In end Chantry reminds one of a later day Milton Glaser with a punk rock point of view.
At some points the book can become too crammed by trying to jam several posters onto a page by shrinking them down to matchbook size, however the work holds up pretty well under the strain. This volume would be valuable to any graphic designer looking for inspiration or anyone who is a fan of the Seattle music from the 90's.

9 of 12 people found the following review helpful.
The sad irony...
By Mel Matsuoka
...is that Art Chantry's groundbreaking artwork (and yes--unlike some snooty traditionalist art-weenies--I DO consider graphic design to be "art"!) is more often than not gobs more compelling than the work of the people who have directly benefitted from his work (i.e. most of the so-called grunge bands from the Pacific Northwest). Yet almost nobody outside of Seattle, Tacoma or underground graphic-design circles knows who the hell he is, even though almost everyone has seen his work in one form or other (The Sub Pop logo is one example that immediately comes to mind).
In early 1991, I discovered and became obsessed with underground garagepunk & instro-surf music, the most exciting of which was coming out of the Pacific Northwest, and specifically Estrus Records, in Bellingham, Washington. It was the Estrus label that started my appreciation, and later, reverence, for Art Chantry's ir-reverent style of graphic design. When Nirvana's "Nevermind" was released later that year, the wall that previously kept mainstream riffraff from crashing "our" underground party came crumbling down, and as a result, grungy Northwest music had become suddenly (and inexplicably) marketable. The sudden onslaught of new bands inspired by this alleged "rebirth" of punkrock quickly caused the quality of Estrus' releases to assume an inversely proportional relationship to the quantity of records they put out (well, that's MY theory, at least...). Simply put, the really good music on Estrus soon became a rare commodity. Thankfully, what didn't change was the brilliant package design that thier slabs o' vinyl and silver frisbees were encased in. Art Chantry was responsible for the bulk of these designs, and is the only reason why a big chunk of my record and CD collection isn't fermenting in some used-record store somewhere. His artwork transcended the actual product it was emblazoned on, and made it worth keeping even if the music it promoted was supremely lame.
Chantry's work led me to notice and gain an appreciation for artists such as Stealworks' John Yates, Frank Kozik and even Roy Lichtenstein. But as great as those artists are, Chantry's work is the perfect amalgam of irony, humor, subversion, obnoxiousness and kitsch, and no one that I'm aware of has yet to outshadow him in this regard, even though he is without a doubt a man with many imitators. In fact, many people directly point the finger at him for popularizing the now passè movement in "grunge" design and layout. Whether this is actually true or not is debatable (although it certainly makes sense), but "Some People Can't Surf" is interesting in that it showcases a non-"grunge" (god, I hate that term) side of Chantry that most people would be very surprised to see. The same man responsible for some of the most outrageous and iconoclastic posters and album covers in music history was at the same time designing nondescript logos and brochures for boring, faceless corporations--biotech companies, architectural firms, airlines, etc.--and it's extremely interesting to see this real-world dichotomy brought to light in this book.
Another notable section of the book recalls the time when Art creatively attempted to get around a draconian 1994 Seattle anti-postering ordinance by posting up 'zine-like tabloids to telephone poles instead, ostensibly daring the city to attempt to fine him for what is fundamentally a First Amendment issue. As someone who firmly believes that graphic design and traditional "art" are not mutually exclusive, I found it refreshing to read this shining example of how designers can use their talent to actively influence and challenge the cultural status quo, instead of simply generating pretty pictures for passive consumer consumption.
When I first saw Art years ago in the documentary film, "Hype!" (which I also HIGHLY recommend), talking about the early Northwest music scene, and then proceeding to chop up his super-rare (and super-expensive) posters with a paper cutter, it completely validated what I always thought--this man is an ironic and wonderfully irreverent genius. "Some People Can't Surf" bolsters this fact even further, and I enjoyed reading this book's narrative at /least/ as much as looking at all the cool, full-color images of his brilliant work. I highly recommend this to any graphic designer who is tired of all the c.r.a.p. that tries to pass itself off as "cool", "grungy" or "retro" nowadays.

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Saturday, 25 May 2013

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Persistent Poverty: Underdevelopment in Plantation Economies of the Third World, by GEORGE L. BECKFORD

  • Sales Rank: #5293521 in Books
  • Published on: 1972
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 332 pages

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Friday, 24 May 2013

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They Live (Cultographies), by D. Harlan Wilson

Born out of the cultural flamboyance and anxiety of the 1980s, They Live (1988) is a hallmark of John Carpenter's singular canon, combining the aesthetics of multiple genres and leveling an attack against the politics of Reaganism and the Cold War. The decision to cast the professional wrestler "Rowdy" Roddy Piper as his protagonist gave Carpenter the additional means to comment on the hypermasculine attitudes and codes indicative of the era. This study traces the development of They Live from its comic book roots to its legacy as a cult masterpiece while evaluating the film in light of the paranoid/postmodern theory that matured in the decidedly "Big 80s." Directed by a reluctant auteur, the film is examined as a complex work of metafiction that calls attention to the nature of cinematic production and reception as well as the dynamics of the cult landscape.

  • Sales Rank: #1937381 in Books
  • Published on: 2014-12-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x 4.50" w x .50" l, .0 pounds
  • Binding: Paperback
  • 128 pages

Review

The book They Live reframes the film "They Live" through creative, compelling critique. It makes an elegant case, time after time, for taking this film seriously as well as science fiction cult cinema more broadly.

(Extrapolation)

This book... [allows] the reader to delve beyond the surface of this cult classic and explore the film's deeper message.

(San Francisco Book Review)

Review

Wilson gets what makes They Live live. With all the virtuosity of 'Rowdy' Roddy Piper performing an inverted atomic drop, he grapples with the many dimensions of Carpenter's movie. From the critical, political and schizoanalytical to the simulacral and tonsorial, his short book chews bubble gum and kicks ass.

(Mark Bould, author of Film Noir: From Berlin to Sin City and editor-in-chief of Science Fiction Film & Television)

Wilson's They Live is an ideal contribution to the cultographies project. Written by a critic fully aware of relevant discourses such as wrestling, fan culture, and historical reception past and present, this is a very stimulating and still timely analysis of one of John Carpenter's key films. Highly recommendable on all levels, especially those of enjoyable and informative reading.

(Tony Williams, Professor/Area Head of Film Studies in the Department of English at University of Illinois-Carbondale and author of Hearths of Darkness: The Family in American Horror Film and The Cinema of George A. Romero)

About the Author

D. Harlan Wilson is a professor of English at Wright State University.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Great dissection of a great 80's movie
By Brian Tasler
An excellent addition to the Cultographies library. Wilson's critique of They Live is both academic and entertaining. Drawing on the obvious connections of the consumer-era Reagan 80's along with Carpenter's love of Pro wrestling Wilson makes a strong case for taking another look at this overlooked 80's cult classic. While I doubt most people that remember or love this movie will put as much thought as the author does into critiquing Carpenter's true intentions of making the film the book does a great job of analysis on the hidden meanings within the film.

Some of the analysis that I enjoyed most included Wilson's notion of "Becoming-Piper" within the film whereby the protagonist (Rowdy Roddy Piper for those who have not seen the film) goes into action mode and essentially becomes a parody of other 80's action heroes such as Stallone or Arnold. Wilson also does a good job of analysis on the extended fight scene of the film which is what most people will remember most from the film.

All in all this book is a good, quick read that is both well-reasoned and entertaining.

1 of 1 people found the following review helpful.
D. Harlan Wilson's 'They Live Cultography' goes deeper than ...
By Bill Stratford
D. Harlan Wilson's 'They Live Cultography' goes deeper than Lethem's 'Deep Focus' take on the same film. It's a pleasure to read.

0 of 0 people found the following review helpful.
VISIONARY AUTOPSY
By Chris Benton
Wilson's astonishing autopsy of the beloved cult classic is a tour de force of philosophical inquiry, a haunting and hilarious diagnosis of masculine pathology run amok in the nightmare simulation of Capitalist America. He first introduces us to THE BECOMING-PIPER, a marvelous schizo-analytical device that unleashes the hyper-violent shadow-self of wrestler 'Rowdy' Roddy Piper from the host-character of Nada into the unconscious arena of Capitalist Media. Most powerful, (for me anyway) was Chapter 5, THE PATHOLOGICAL UNCONSCIOUS, where Wilson puts the theoretical gun on the table, pointed towards a disturbing possibility that Nada-Piper is indeed a psychotic prodigal son, descended from a sovereign, pathological order of symbolic fathers. A riveting work.

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Wednesday, 22 May 2013

[F863.Ebook] Ebook Patterns, Scales & Modes for Jazz Guitar, by Arnie Berle

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Patterns, Scales & Modes for Jazz Guitar, by Arnie Berle

(Music Sales America). A clear, practical and systematic approach to learning how to play the great variety of scales and arpeggios that give life and expression to the musical ideas of the modern musician. In addition to scales and arpeggios, many examples of jazz-type lines are covered and explained. Valuable tips and suggestions will help you begin creating your own jazz solos.

  • Sales Rank: #953170 in Books
  • Brand: Music Sales
  • Model: 14025163
  • Published on: 1994-08-01
  • Released on: 1994-08-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.00" h x .36" w x 9.00" l, 1.26 pounds
  • Binding: Paperback
  • 146 pages
Features
  • .

Most helpful customer reviews

19 of 22 people found the following review helpful.
patterns, scales and modes for jazz guitar
By timothy o'connell
this is an excellent introduction to scale modes and their application. like all of mr. berle's instructional books, it is written in an understandable fashion and gets its various points across without a lot of esoterica. this material is aimed at the intermediate guitarist who wants to understand a little of the basic tools for jazz guitar improvisation.

15 of 15 people found the following review helpful.
Berle mostly succeeds at accomplishing a very difficult task
By "Unnecessary" Quotes
I must admit that I have had a lot of frustration using this book. Many of Mr. Berle's riffs and excercises are presented without much context, other than an explanation that the riffs are pulled from this chord or that scale, plus chromatic notes. Thus, it sometimes feels like Berle's book is another in a long line of "play the notes of this scale, in some random order, over this chord" instruction books.

However, I think that this book's problems stem more from the scope of the task that the author has taken on. This is essentially a book for beginning jazz guitarists. Given the difficulty of playing jazz, this is not necessarily a book for beginning guitarists, unless conversant in some other instrument.

This book does not undertake to give a thorough explanation of chord voicings, melodic or harmonic theory, or thinking in a modal or non-functional context. For a better understanding of these elements of jazz, you need to seek out more advanced resources. This book undertakes only an explanation of spotting the diatonic key centers and playing the "correct" notes over a few choice examples of standard jazz changes. This in itself is a significant task, especially since Berle attempts to break down the subject to a level that any relatively intermediate guitarist could understand.

I would recommend this book if you have a smattering of theory and a desire to start learning jazz. For a very good all-purpose resource on jazz theory that covers a lot more ground, I would recommend Mark Levine's the Jazz Theory Book.

If you are not a music reader, don't let the lack of Tab put you off of this book. Berle clearly diagrams every position, and each note has both finger and string indicators. This may be one of the best resources for you to start learning to sight read, and you will need that skill if you want to use the more advanced resources on jazz playing, particularly those that are written for all instruments. The resources in this category include The Jazz Theory Book, the Aebersold series, and Building a Jazz Vocabulary.

28 of 29 people found the following review helpful.
A deceptively simple introduction
By Michael J. Edelman
Like all of Arnie Berle's books, "Patterns, Scales, and Modes" is so well-organized and well presented that it seems almost too simple. Arnie begins by introducing you do basic scale forms, while simultanously present related arpeggios. That's something not many methods do, but it's something that a lot of jazz teachers think should be emphasized from the start. (Some, like Carol Kaye, don't even teach scales, going straight to arpeggions!) And every scale and arpeggio example is presented with excercises designed to let you hear how the examples sound in a real musical context. That's important.
As others have noted, the book is written in musical notation, not tablature, although there are also diagrams showing how scales and arpeggios lie on the fingerboard. Being able to read music is a necessity- but really, all you need to know is the basics: Names of notes on the staff, how key signatures work and so forth. You don't need to actually be able to read for guitar; Arnie teaches you that as he goes along. A sight reader would be able to progress a bit faster, of course. By the time the reader works his or her way through this book they should feel comfortable playing and improvising basic jazz lines in most any context.
Ideally I'd combine this book with Berle's "Chords and Progressions for Jazz and Popular Guitar" (and a good listening library of jazz records). Together, these two books contain all the aspiring jazz guitarist would need to get started.

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Wednesday, 15 May 2013

[J690.Ebook] Ebook Download FLASHBACK - Dan Simmons, by Dan Simmons

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FLASHBACK - Dan Simmons, by Dan Simmons

  • Published on: 2011
  • Binding: Preloaded Digital Audio Player

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Wednesday, 8 May 2013

[Y212.Ebook] Ebook Download The Shock of the New, by Robert Hughes

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The Shock of the New, by Robert Hughes

A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos.


From the Trade Paperback edition.

  • Sales Rank: #431564 in eBooks
  • Published on: 2013-08-14
  • Released on: 2013-08-14
  • Format: Kindle eBook

From Publishers Weekly
The author of The Fatal Shore and Time magazine's art critic here presents a greatly expanded version of a PBS television series on modern art, and includes some 270 color illustrations. Although he frequently deals in generalities, "choice anecdotes, telling characterizations, witty observations flow from his pen," lauded PW . The "chapters bristle with apt insights."
Copyright 1990 Reed Business Information, Inc.

From the Inside Flap
A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos.

About the Author
Robert Hughes has been an art critic for Time magazine since 1970. His eight-part BBC/Time-Life television series, on which this book is based, has been broadcast throughout the United States on public television. He has received the Franklin Jewett Mather Award for Distinguished Criticism from the College Art Association of America twice, and he has authored the Art of Australia (1966); Heaven and Hell in Western Art (1969); and Nothing If Not Critical (1990), a collection of essays on art and artists.

Most helpful customer reviews

79 of 79 people found the following review helpful.
More than an art book, by more than an art critic
By Mac McCarthy
I bought and read the first edition of this book after seeing the 1979 PBS series Hughes hosted, and I heartily recommend both book (which I still have) and the TV show if you can find it anywhere. Hughes' special brilliance is his ability to show the revolution in art at the turn of the 20th century as reacting to the revolution in technology and living standards and the rapid changes in every part of society -- the "shock" of this race to "newnesss" that really starting picking up speed a hundred years ago. Also unique and priceless is Hughes' puckish sense of humor and willingness to express an opinion - even a negative opinion - about art and architectural movements.
This is art history for the intelligent nonartist -- you will greatly enjoy it!

48 of 48 people found the following review helpful.
Superb, sensible introduction to modern art for the curious
By A Customer
Robert Hughes manages to do what no other contemporary critics can, see painting as a painter does, rather than as a writer--writing about painting. As someone who makes my living as a painter, I'm always frustrated by the clueless interpretations of art historians and especially critics. Often, they simply don't get it! They're looking for philosophic meaning in every nuance of a painting, when any honest painter would tell you, sometimes "It's just because it looked good like that!" I would highly recommend Mr. Hughes's book. It is a very sensible, insightful, and readable text. As a painter, I was very impressed by his observations and how he managed to communicate some idea of how painters actually create their work. (Critics would have you believe they start with a manifesto/theory/or other B.S. It's usually a lot less mysterious than that and Hughes does a great job of demystifying it. Also, it's a great book to show someone the purpose and value of art since 1900. Great Book!

40 of 40 people found the following review helpful.
Valuable for the curious and the more experienced
By Lesley West
This is a famous art text and justly so. If you are wondering "just what is this modern art stuff?", this book will help you. If you are thinking "I don't know much about art but I know what I like" this book will surprise you with its magnificent colour plates and images. Robert Hughes can write reviews for the art glitterati, but he can also write for the average person with an interest in Modern Art, and very well he does it too!

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