The Financial Crisis Inquiry Report, Authorized Edition


Book Description

Examines the causes of the financial crisis that began in 2008 and reveals the weaknesses found in financial regulation, excessive borrowing, and breaches in accountability.




Art for the Nation


Book Description

Exhibition includes approximately 2% of the acquisitions made during the 1990s.




Surveys and Surveyors of the Public Domain, 1785-1975


Book Description

"Cadastral surveys are performed to create, mark, and define, or to retrace the boundaries between abutting land owners, and, more particularly, between land of the Federal Government and private owners or local governments. As referred to here, cadastral surveys were performed only by the General Land Office during its existence and by the Bureau of Land Management. The Bureau of Land Management is the only agency that is currently authorized to determine the boundaries of the public lands of the United States. Proper understanding of the basis for performance of cadastral surveys includes an understanding of the history of the public land surveys. An understanding of that history requires some consideration of the people who performed these surveys and of the people whose land was affected by them. These chapters were written to be used as an aid in training cadastral surveyors in the application of surveying principles. The learner is expected to gain from the factual material on survey laws and their formation, as well as from a study of the people who performed the surveys. Many of the men who had an important role in the history of cadastral surveying are still living, but only those who have retired are included in the present document."--Foreword.




The Optical Unconscious


Book Description

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.




The FBI Story


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When Old Technologies Were New


Book Description

In the history of electronic communication, the last quarter of the nineteenth century holds a special place, for it was during this period that the telephone, phonograph, electric light, wireless, and cinema were all invented. In When old Technologies Were New, Carolyn Marvin explores how two of these new inventions--the telephone and the electric light--were publicly envisioned at the end of the nineteenth century, as seen in specialized engineering journals and popular media. Marvin pays particular attention to the telephone, describing how it disrupted established social relations, unsettling customary ways of dividing the private person and family from the more public setting of the community. On the lighter side, she describes how people spoke louder when calling long distance, and how they worried about catching contagious diseases over the phone. A particularly powerful chapter deals with telephonic precursors of radio broadcasting--the "Telephone Herald" in New York and the "Telefon Hirmondo" of Hungary--and the conflict between the technological development of broadcasting and the attempt to impose a homogenous, ethnocentric variant of Anglo-Saxon culture on the public. While focusing on the way professionals in the electronics field tried to control the new media, Marvin also illuminates the broader social impact, presenting a wide-ranging, informative, and entertaining account of the early years of electronic media.




Saugus Iron Works


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Chicago Baptist Hospital ...


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The Olivia Letters


Book Description