Car Safety Wars


Book Description

Car Safety Wars is a gripping history of the hundred-year struggle to improve the safety of American automobiles and save lives on the highways. Described as the “equivalent of war” by the Supreme Court, the battle involved the automobile industry, unsung and long-forgotten safety heroes, at least six US Presidents, a reluctant Congress, new auto technologies, and, most of all, the mindset of the American public: would they demand and be willing to pay for safer cars? The “Car Safety Wars” were at first won by consumers and safety advocates. The major victory was the enactment in 1966 of a ground breaking federal safety law. The safety act was pushed through Congress over the bitter objections of car manufacturers by a major scandal involving General Motors, its private detectives, Ralph Nader, and a gutty cigar-chomping old politician. The act is a success story for government safety regulation. It has cut highway death and injury rates by over seventy percent in the years since its enactment, saving more than two million lives and billions of taxpayer dollars. But the car safety wars have never ended. GM has recently been charged with covering up deadly defects resulting in multiple ignition switch shut offs. Toyota has been fined for not reporting fatal unintended acceleration in many models. Honda and other companies have—for years—sold cars incorporating defective air bags. These current events, suggesting a failure of safety regulation, may serve to warn us that safety laws and agencies created with good intentions can be corrupted and strangled over time. This book suggests ways to avoid this result, but shows that safer cars and highways are a hard road to travel. We are only part of the way home.




No Accident


Book Description

It is possible to eliminate death and serious injury from Canada’s roads. In other jurisdictions, the European Union, centres in the United States, and at least one automotive company aim to achieve comparable results as early as 2020. In Canada, though, citizens must turn their thinking on its head and make road safety a national priority. Since the motor vehicle first went into mass production, the driver has taken most of the blame for its failures. In a world where each person’s safety is dependent on a system in which millions of drivers must drive perfectly over billions of hours behind the wheel, failure on a massive scale has been the result. When we neglect the central role of the motor vehicle as a dangerous consumer product, the result is one of the largest human-made means for physically assaulting human beings. It is time for Canadians to embrace internationally recognized ways of thinking and enter an era in which the motor vehicle by-product of human carnage is relegated to history. No Accident examines problems related to road safety and makes recommendations for the way forward. Topics include types of drivers; human-related driving errors related to fatigue, speed, alcohol, and distraction and roads; pedestrians, cyclists, and public transit; road engineering; motor vehicle regulation; auto safety design; and collision-avoidance technologies such as radar and camera-based sensors on vehicles that prevent crashes. This multi-disciplinary study demystifies the world of road safety and provides a road map for the next twenty years.




Canvases and Careers


Book Description

In the nineteenth century, the Académie des Beaux Arts, and institution of central importance to the artistic life of France for over two hundred years, yielded much of its power to the present system of art distribution, which is dependent upon critics, dealers, and small exhibitions. In Canvases and Careers, Harrison and Cynthia White examine in scrupulous and fascinating detail how and why this shift occurred. Assimilating a wide range of historical and sociological data, the authors argue convincingly that the Academy, by neglecting to address the social and economic conditions of its time, undermined its own ability to maintain authority and control. Originally published in 1965, this ground-breaking work is a classic piece of empirical research in the sociology of art. In this edition, Harrison C. White's new Foreword compares the marketing approaches of two contemporary painters, while Cynthia A. White's new Afterword reviews recent scholarship in the field.




Marketing Modernism in Fin-de-siècle Europe


Book Description

In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective.




Constructive and Resulting Trusts


Book Description

Constructive and resulting trusts have a long history in English law, and the law which governs them continues to develop as they are pressed into service to perform a wide variety of different functions, for example, to support the working of express trusts and other fiduciary relationships, to allocate family property rights, and to undo the consequences of commercial fraud. However, while their conceptual flexibility makes them enormously useful, it also makes them hard to understand. In the twelve essays collected in this volume, the authors shed new light on various aspects of the law governing constructive and resulting trusts, revisiting current controversies, bringing new historical material to the fore, and offering new theoretical perspectives.




The Hague School


Book Description




The Academy and French Painting in the Nineteenth Century


Book Description

"Using words and works of both pupils and masters of the French Academy of Beaux-Arts, this fascinating book provides a wealth of information about the environment and studio practices of French official art from 1830 to 1890. Albert Boime describes the training of new pupils in the Academic ateliers, from the time they began and were set to copy engravings and casts to their copying of the old masters in the Louvre to their work before the live model and landscape painting out-of-doors. Boime's account includes not only a history of the transition from guild-controlled arts sanctioned by the church to an academic system sponsored by the state but also a reassessment of the positive role played by the Academy's teaching program in the evolution of the independent movements of the nineteenth century"--Publisher's description.




Beyond Mimesis and Convention


Book Description

Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity.




Late Medieval Castles


Book Description

A collection of the most significant articles in castle studies, with contributions from scholars in history, archaeology, historic buildings and landscape archaeology. The castles of the late medieval period represent some of the finest medieval monuments in Britain, with an almost infinite capacity to fascinate and draw controversy. They are also a source of considerable academic debate. The contents of this volume represent key works in castle scholarship. Topics discussed include castle warfare, fortress customs, architectural design and symbolism, spatial planning and the depiction of castles in medieval romance. The contributions also serve to highlight the diversity of approaches to the medieval castle, ranging from the study of documentary and literary sources, analysis of fragmentary architectural remains and the recording of field archaeology. The result is a survey that offers an in-depth analysis of castle building from the thirteenth to the fifteenth centuries, and places castles within their broader social, architectural and political contexts. Robert Liddiard is Professor of History, University of East Anglia. Contributors: Nicola Coldstream, Charles Coulson, Philip Dixon, Graham Fairclough, P.A. Faulkner, John Goodall, Beryl Lott, Charles McKean, T.E. McNeill, Richard K. Morris, Michael Prestwich, Christopher Taylor, Muriel A. Whitaker.




English Medieval Industries


Book Description

English Medieval Industries is an authoritative modern survey of medieval crafts and their products. It is heavily illustrated by pictures of surviving objects and contemporary representations of medieval work. Each industry is approached by material (amongst others stone, tin, lead, copper, iron, brick, glass, leather, bone and wood), discussing its acquisition, working and sale as a finished product. The contributors are the leading experts in their fields. They describe the specialist work that went to make the housing, clothing, tools, vessels and ornaments of medieval people. A general bibliography provides a valuable reference tool.