This invaluable collection of memoirs and reviews on scientific activities of the most prominent theoretical physicists belonging to the Landau School — Landau, Migdal, Zeldovich, Smorodinsky, Ter-Martirosyan, Kirzhnits, Gribov, Larkin and Anselm — are being published in English for the first time.The main goal is to acquaint readers with the life and work of outstanding Soviet physicists who, to a large extent, shaped theoretical physics in the 1950s-70s. Many intriguing details have remained unknown beyond the “Iron Curtain” which was dismantled only with the fall of the USSR.

A Mind Over Matter is a biography of the Nobel-prize winner Philip W. Anderson, a person widely regarded as one of the most accomplished and influential physicists of the second half of the twentieth century. Anderson (1923-2020) was a theoretician who specialized in the physics of matter, including window glass and metals, magnets and semiconductors, liquid crystals and superconductors. More than any other single person, Anderson transformed the patchwork subject of solid-state physics into the deep, subtle, and coherent discipline known today as condensed matter physics. Among his many world-class research achievements, Anderson discovered an aspect of wave physics that had been missed by all previous scientists going back to Isaac Newton. He became a public figure when he testified before Congress to oppose its funding of an expensive project intended exclusively for particle physics research. Over the years, he published many articles designed to influence a broad audience about issues where science impacted public policy and culture. Anderson grew up in the American mid-west, was educated at Harvard, and rose to the pinnacle of his profession during the first decade of his thirty-five career as a theoretical physicist at Bell Telephone Laboratories. Almost uniquely, he spent many years working half-time as a professor at the University of Cambridge and at Princeton University. The outspoken Anderson enjoyed broad influence outside of physics when he helped develop and champion the concepts of emergence and complexity as organizing principles to help attack very difficult problems in technically challenging disciplines.

The time has come for Car-Free Los Angeles and Southern California. The peril of global climate change dominates the headlines. In California almost 40% of greenhouse gases come from transportation. More and more people--especially young people--are realizing the current approach to mobility is not sustainable. Car-Free Los Angeles and Southern California is designed as a complete guide to a car-free vacation in Southern California, from the time travelers land or arrive until the time they leave. Car-Free Los Angeles and Southern California reveals how to get from the airport--or the train station or bus station--into town. For Los Angeles or Southern California residents, this book tells how to plug into the transit network and start traveling car-free to the local attractions. Contrary to old stereotypes, Southern California is a great place to travel car-free. It has a lovely train that travels along the coast. It has a ferry across the water to a town with a limit on the number of cars--Avalon on Catalina Island. There's a beautiful city that gives you discounts for traveling car-free. Los Angeles' buses go to the front door of world class museums, theatres, and shops. Disneyland will shuttle travelers from motels to the park. The book lists good places to stay that are transit accessible. Car-Free Los Angeles and Southern California discloses the terrific things to see and do in Southern California with detailed information on how to get there. Whether it's sightseeing, shopping, eating, visiting museums or something else altogether--Car-Free Los Angeles and Southern California will get you there.

In 2010, French mathematician Cédric Villani received the Fields Medal, the most coveted prize in mathematics, in recognition of a proof which he devised with his close collaborator Clément Mouhot to explain one of the most surprising theories in classical physics. Birth of aTheorem is Villani's own account of the years leading up to the award. It invites readers inside the mind of a great mathematician as he wrestles with the most important work of his career. But you don't have to understand nonlinear Landau damping to love Birth of aTheorem. It doesn't simplify or overexplain; rather, it invites readers into collaboration. Villani's diaries, emails, and musings enmesh you in the process of discovery. You join him in unproductive lulls and late-night breakthroughs. You're privy to the dining-hall conversations at the world's greatest research institutions. Villani shares his favorite songs, his love of manga, and the imaginative stories he tells his children. In mathematics, as in any creative work, it is the thinker's whole life that propels discovery—and with Birth of aTheorem, Cédric Villani welcomes you into his.

With films like Gladiator, Blade Runner, and Black Hawk Down, director Ridley Scott has shown his mastery of cinematic storytelling that is epic in dimension but with a deeply personal core. In Kingdom of Heaven, he turns to the Crusades—that world-shaping 200-year collision between Europe and the East—to frame the tale of a young Frenchman who defies all odds to become a knight, then lives out what that glorious title really means. "I'd always wanted to make a movie about knights and medieval times, the Crusades especially," says Scott. "Historically, the knight—like the cowboy or the policeman—has given us great opportunities to tell stories about a hero." With the cry "God wills it!" Pope Urban II in 1095 urged Christian Europe into a frenzy to reclaim the holy city of Jerusalem, conquered by Muslim armies that swept through the Middle East in the 7th century. Thousands answered the call, from kings to peasants, and in the ensuing waves of war ancient cities fell to bloody sieges, Christian kingdoms were founded in the Holy Land, and unspeakable atrocities were committed on both sides. Between the Second and Third Crusades, however, two visionary leaders—King Baldwin IV of Jerusalem and the Saracen general Saladin—forged a short-lived peace amid the carnage. Drawn into this immense drama is the young blacksmith Balian (Orlando Bloom). Fleeing his village under a death sentence, and fleeing his own demons as well, Balian joins forces with a great knight, Godfrey of Ibelin (Liam Neeson), who swears him to serve King Baldwin and up-hold the truce—that fragile "kingdom of heaven." On reaching the Holy Land, Balian falls under the spell of the king's sister, Sibylla (Eva Green), and becomes embroiled in a struggle for the kingdom's soul, as the dying king is assailed by extremists bent on war. Ultimately, Balian must choose between his love and his sense of knightly honor. And when Jerusalem faces its greatest peril, he must use all his wits and courage to defend it against staggering odds. Scott and his production team scale new heights in creating worlds on film: building vast sets on locations in Morocco and Spain, peopling them with international stars and thousands of extras, enhancing filmed action with state-of-the-art effects. Scenes of medieval warfare, breathtaking in scale and realism, feature weapons and machines that were carefully researched and built for real. This splendid companion book, illustrated with more than 200 photos, drawings, and Scott's own storyboards, documents this landmark production behind the scenes and before the cameras. But it also delves into the details of storycrafting that give Kingdom of Heaven its solid historical grounding, and includes a lively primer on the Crusades that will expand readers' appreciation of both the film and the history behind it. With more than 200 photographs and illustrations.

Honeymooners Viktor and Liesel Landauer are filled with the optimism and cultural vibrancy of central Europe of the 1920s when they meet modernist architect Rainer von Abt. He builds for them a home to embody their exuberant faith in the future, and the Landauer House becomes an instant masterpiece. Viktor and Liesel, a rich Jewish mogul married to a thoughtful, modern gentile, pour all of their hopes for their marriage and budding family into their stunning new home, filling it with children, friends, and a generation of artists and thinkers eager to abandon old-world European style in favor of the new and the avant-garde. But as life intervenes, their new home also brings out their most passionate desires and darkest secrets. As Viktor searches for a warmer, less challenging comfort in the arms of another woman, and Liesel turns to her wild, mischievous friend Hana for excitement, the marriage begins to show signs of strain. The radiant honesty and idealism of 1930 quickly evaporate beneath the storm clouds of World War II. As Nazi troops enter the country, the family must leave their old life behind and attempt to escape to America before Viktor's Jewish roots draw Nazi attention, and before the family itself dissolves. As the Landauers struggle for survival abroad, their home slips from hand to hand, from Czech to Nazi to Soviet possession and finally back to the Czechoslovak state, with new inhabitants always falling under the fervent and unrelenting influence of the Glass Room. Its crystalline perfection exerts a gravitational pull on those who know it, inspiring them, freeing them, calling them back, until the Landauers themselves are finally drawn home to where their story began. Brimming with barely contained passion and cruelty, the precision of science, the wild variance of lust, the catharsis of confession, and the fear of failure - the Glass Room contains it all.

Photography has transformed the way we picture ourselves. Although photographs seem to "prove" our existence at a given point in time, they also demonstrate the impossibility of framing our multiple and fragmented selves. As Linda Haverty Rugg convincingly shows, photography's double take on self-image mirrors the concerns of autobiographers, who see the self as simultaneously divided (in observing/being) and unified by the autobiographical act. Rugg tracks photography's impact on the formation of self-image through the study of four literary autobiographers concerned with the transformative power of photography. Obsessed with self-image, Mark Twain and August Strindberg both attempted (unsuccessfully) to integrate photographs into their autobiographies. While Twain encouraged photographers, he was wary of fakery and kept a fierce watch on the distribution of his photographic image. Strindberg, believing that photographs had occult power, preferred to photograph himself. Because of their experiences under National Socialism, Walter Benjamin and Christa Wolf feared the dangerously objectifying power of photographs and omitted them from their autobiographical writings. Yet Benjamin used them in his photographic conception of history, which had its testing ground in his often-ignored Berliner Kindheit um 1900. And Christa Wolf's narrator in Patterns of Childhood attempts to reclaim her childhood from the Nazis by reconstructing mental images of lost family photographs. Confronted with multiple and conflicting images of themselves, all four of these writers are torn between the knowledge that texts, photographs, and indeed selves are haunted by undecidability and the desire for the returned glance of a single self.