'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.

Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

Reimagining the scholarly book as living and collaborative--not as commodified and essentialized, but in all its dynamic materiality. In this book, Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project--not as linear, bound, and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema's proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality. Adema suggests ways to unbind the book, describing experiments in scholarly book publishing with new forms of anonymous collaborative authorship, radical open access publishing, and processual, living, and remixed publications, among other practices. She doesn't cast digital as the solution and print as the problem; the problem in scholarly publishing, she argues, is not print itself, but the way print has been commodified and essentialized. Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. Finally, asking why it is that we cut and bind our research together at all, she examines two book publishing projects that experiment with remix and reuse and try to rethink and reperform the book-apparatus by taking responsibility for the cuts they make.

Living Aikido contains excellent tips that would help sharpen the novice technique through the advanced practitioner. In the process of reading it, one undergoes an enlightening experience.

Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth. As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch. Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.

FINALIST FOR THE PEN/E.O. WILSON LITERARY SCIENCE WRITING AWARD***A NEW YORK TIMES NOTABLE BOOK OF 2021***A SCIENCE NEWS FAVORITE BOOK OF 2021***A SMITHSONIAN TOP TEN SCIENCE BOOK OF 2021 “Stories that both dazzle and edify… This book is not just about life, but about discovery itself.” —Siddhartha Mukherjee, New York Times Book Review We all assume we know what life is, but the more scientists learn about the living world—from protocells to brains, from zygotes to pandemic viruses—the harder they find it is to locate life’s edge. Carl Zimmer investigates one of the biggest questions of all: What is life? The answer seems obvious until you try to seriously answer it. Is the apple sitting on your kitchen counter alive, or is only the apple tree it came from deserving of the word? If we can’t answer that question here on earth, how will we know when and if we discover alien life on other worlds? The question hangs over some of society’s most charged conflicts—whether a fertilized egg is a living person, for example, and when we ought to declare a person legally dead. Life's Edge is an utterly fascinating investigation that no one but one of the most celebrated science writers of our generation could craft. Zimmer journeys through the strange experiments that have attempted to re-create life. Literally hundreds of definitions of what that should look like now exist, but none has yet emerged as an obvious winner. Lists of what living things have in common do not add up to a theory of life. It's never clear why some items on the list are essential and others not. Coronaviruses have altered the course of history, and yet many scientists maintain they are not alive. Chemists are creating droplets that can swarm, sense their environment, and multiply. Have they made life in the lab? Whether he is handling pythons in Alabama or searching for hibernating bats in the Adirondacks, Zimmer revels in astounding examples of life at its most bizarre. He tries his own hand at evolving life in a test tube with unnerving results. Charting the obsession with Dr. Frankenstein's monster and how the world briefly believed radium was the source of all life, Zimmer leads us all the way into the labs and minds of researchers engineering life from scratch.

Gain insight into both modern and Japanese styles with this stunning Japanese interior design book. Japan Living presents thirty exceptional houses that transcend function and resonate with spirit. Chosen for their inspiring and innovative designs, these new Japanese homes are special places to dream in. The owners and architects, working as collaborative teams, have created homes that are quintessentially Japanese. Crisp, sharp, transparent and light—these new designs represent a new burst in creativity over the past decade. Many reflect changes in the dynamics of Japanese society, while others represent self-expression and individuality. All of them are marked by a return to traditional Japanese materials and design elements married with such present-day requirements as flexibility, modern kitchens and bathrooms, energy efficiency and electronic gadgetry.