Uses excerpts from letters, memoirs, and documents to recreate the life of Ada Byron, daughter of the English poet, and discusses her contributions to mathematics and her friendships with the leading mathematicians of the period

This is an incredible history of Brighton, earlier known as Brighthelmstone, a seaside resort and one of the two main areas of the City of Brighton and Hove. It is located on the south coast of England, in East Sussex. Archaeological evidence of settlement in the area dates back to the Bronze Age, Roman and Anglo-Saxon periods. The writer entertains the readers with vivid descriptions of the site and several unknown facts. In addition, histories of the places and brief biographies of famous people that lived there are also included in this book.

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.