A wide-ranging, multidisciplinary look at Native American literature through non-narrative texts like lists, albums, recipes, and scrapbooks Kelly Wisecup offers a sweeping account of early Native American literatures by examining Indigenous compilations: intentionally assembled texts that Native people made by juxtaposing and recontextualizing textual excerpts into new relations and meanings. Experiments in reading and recirculation, Indigenous compilations include Mohegan minister Samson Occom's medicinal recipes, the Ojibwe woman Charlotte Johnston's poetry scrapbooks, and Abenaki leader Joseph Laurent's vocabulary lists. Indigenous compilations proliferated in a period of colonial archive making, and Native writers used compilations to remake the very forms that defined their bodies, belongings, and words as ethnographic evidence. This study enables new understandings of canonical Native writers like William Apess, prominent settler collectors like Thomas Jefferson and Henry Rowe Schoolcraft, and Native people who contributed to compilations but remain absent from literary histories. Long before current conversations about decolonizing archives and museums, Native writers made and circulated compilations to critique colonial archives and foster relations within Indigenous communities.

A wide-ranging, multidisciplinary look at Native American literature through non-narrative texts like lists, albums, recipes, and scrapbooks Kelly Wisecup offers a sweeping account of early Native American literatures by examining Indigenous compilations: intentionally assembled texts that Native people made by juxtaposing and recontextualizing textual excerpts into new relations and meanings. Experiments in reading and recirculation, Indigenous compilations include Mohegan minister Samson Occom’s medicinal recipes, the Ojibwe woman Charlotte Johnston’s poetry scrapbooks, and Abenaki leader Joseph Laurent’s vocabulary lists. Indigenous compilations proliferated in a period of colonial archive making, and Native writers used compilations to remake the very forms that defined their bodies, belongings, and words as ethnographic evidence. This study enables new understandings of canonical Native writers like William Apess, prominent settler collectors like Thomas Jefferson and Henry Rowe Schoolcraft, and Native people who contributed to compilations but remain absent from literary histories. Long before current conversations about decolonizing archives and museums, Native writers made and circulated compilations to critique colonial archives and foster relations within Indigenous communities.

Beginning from the rise of modern history in the eighteenth century, this book examines how changing ideas in the discipline of history itself has affected architecture from the beginning of modernity up to the present day. It reflects upon history in order to encourage and assist the reader in finding well-founded principles for architectural design. This is not simply another history of architecture, nor a ‘history of histories’. Setting buildings in their contemporaneous ideas about history, it spans from Fischer von Erlach to Venturi and Rossi, and beyond to architects working in the fallout from both the Modern Movement – Aalto, Louis Kahn, Aldo van Eyck – and Post-modernism – such as Rafael Moneo and Peter Zumthor. It shows how Soane, Schinkel and Stirling, amongst others, made a meaningful use of history and contrasts this with how a misreading of Hegel has led to an abuse of history and an uncritical flight to the future. This is not an armchair history but a lively discussion of our place between past and future that promotes thinking for making.

Did you know that you can transform a cheese grater, a few bits of old cutlery and a handful of nuts and bolts into a household robot brimming with character in no time? Presented like a recipe book, Assembled will inspire you to make your own bots from random flea market finds and some unwanted junk through 23 quirky "robot recipes". Each of the 23 robots is shown through the transformation of a group of “found objects” into a finished sculpture with accompanying instructions on inspiration, assemblage methods and bonding techniques. The projects are disassembled to their very core to reveal not just the easily identifiable elements used in their creation, such as a tennis racket, thermos, or bicycle frame, but also every screw, bolt, thread, rope or wire used to assemble them. The text accompanying each piece comes from the artists and offers a unique insight into the creation and character of each individual robot. These charming background stories describe the journey from seemingly random, found objects to a finished, named creation, and are followed with precise instructions on how each piece is put together. A list of individual components and tools used completes the "recipes". The three-dimensional counterpart of collage, as an art form assemblage art traces its origins back to Pablo Picasso, Georges Braque and Marcel Duchamp who famously attached a bicycle wheel to a stool and called it a readymade. The term assemblages was first used by Jean Dubuffet in the 1950s to describe a series of collages using butterfly wings while the genre of assemblage art was created in 1961 by Peter Selz and William Seitz who co-curated the exhibition The Art of Assemblage at the MoMA in New York.

Self-assembly is a process in which a disordered system forms an organized structure without external direction. Examples include the formation of molecular crystals, lipid bilayers, and polymer brushes. This book reviews the fabrication and use of various self-assembled materials. In particular, the author pays special attention to self-assembled

Moving from the historical and cultural overviews of the city, Kostof descends into the streets, sidewalks, squares, markets, and waterfronts and presents a detailed urban anatomy. The book is organized thematically around the structural phenomena of cities, the city edge, the street, public space, the marketplace, and the realities of cultural and economic segregation.