A deep dive into the history of aquatics that exposes centuries-old tensions of race, gender, and power at the root of many contemporary swimming controversies. Shifting Currents is an original and comprehensive history of swimming. It examines the tension that arose when non-swimming northerners met African and Southeast Asian swimmers. Using archaeological, textual, and art-historical sources, Karen Eva Carr shows how the water simultaneously attracted and repelled these northerners—swimming seemed uncanny, related to witchcraft and sin. Europeans used Africans’ and Native Americans’ swimming skills to justify enslaving them, but northerners also wanted to claim water’s power for themselves. They imagined that swimming would bring them health and demonstrate their scientific modernity. As Carr reveals, this unresolved tension still sexualizes women’s swimming and marginalizes Black and Indigenous swimmers today. Thus, the history of swimming offers a new lens through which to gain a clearer view of race, gender, and power on a centuries-long scale.

With new technologies and additional goals driving their institutions, archives are changing drastically. This book shows how the foundations of archival practice can be brought forward to adapt to new environments—while adhering to the key principles of preservation and access. Archives of all types are experiencing a resurgence, evolving to meet new environments (digital and physical) and new priorities. To meet those changes, professional archivist education programs—now one of the more active segments of LIS schools—are proliferating as well. This book identifies core archival theories and approaches and how those interact with major issues and trends in the field. The essays explore the progression of archival thinking today, discussing the nature of archives in light of present-day roles for archivists and archival institutions in the preservation of documentary heritage. Examining new conceptualizations and emerging frameworks through the lenses of core archival practice and theory, the book covers core foundational topics, such as the nature of archives, the ruling concept of provenance, and the principal functions of archivists, discussing each in the context of current and future environments and priorities. Several new essays on topics of central importance not treated in the first edition are included, such as digital preservation and the influence of new technologies on institutional programs that facilitate archival access, advocacy, and outreach; the changing legal context of archives and archival work; and the archival collections of private persons and organizations. Readers will also learn how communities of various kinds intersect with the archival mission and how other disciplines' perspectives on archives can open new avenues.

Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself. Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.

Describes the various factors that change the shape of coastlines including storms, natural erosion, and rising sea levels. Also discusses the future implications of these changes on coastal and low-lying centers of population and what can be done to protect the coastlines and slow the process of change.

THOUGHT PROVOKING. INVIGORATING. INSPIRATIONAL. A ROUSING ROADMAP FOR ANYONE WHO DESIRES TO TRANSFORM THEIR FINANCIAL SITUATION AND DISCOVER HOW TO USE WHAT’S IN THEIR HANDS TO CREATE GENERATIONAL WEALTH AND TRUE FINANCIAL FREEDOM. LaShawne Holland never knew what she wanted to be when she grew up. Unlike her 3rd grade classmates, who wanted to be attorneys, astronauts, chefs, and doctors, she never had THAT vision. Her vision was unconventional and so was her answer to the teacher. “I DON’T WANT TO BE BROKE” were the words that escaped her mouth. Loud and clear, she confidently repeated it as second time as if the class didn’t hear her the first time as confirmation of her big dream. She was an honor roll student all throughout school, then in her 12th grade year, her High School Guidance Counselor told her in a meeting that “kids like you don’t go to college”. Confused and shocked by his comments, she left that meeting more determined than ever to not become the statistic that society would try to box her in to be. She went to college, working three jobs to pay her way through school, graduating with a Bachelor of Science in Accounting and went to work in Corporate America. It didn’t take long for her to start to feel the uncomfortable tug in her heart that she didn’t want to be placed in a box and only make in a salary what her boss deemed she was worth. Born to Multiply is about seizing and taking hold of the promises of God in the bible where wealth and riches is concerned and apply them to your life. It’s about employing your gifts, that was placed inside of you before the foundations of the world to create wealth. LaShawne believes that wealth follows purpose and no one has the right to tell you that you can only have a certain income level. LaShawne disrupts the social-economic norms that society tries to tag children of teen parents with. In Born to Multiply, she shares her journey and helps the reader discover how to transform financial suffocation to financial success.