Against Design is the title of a thematic exhibition (February 4 - April 16, 2000) that brought together an international group of ten younger artists whose work consciously blurs the boundaries between art, architecture and design, environmental installation and interior décor. The artists were: Kevin Appel (Los Angeles); Angela Bulloch (Great Britain); Clay Ketter (Sweden); Roy McMakin (Los Angeles); Jorge Pardo (Los Angeles); Tobias Rehberger (Germany); Joe Scanlan (Chicago); Joep van Lieshout (the Netherlands); Pae White (Los Angeles); and Andrea Zittel (New York/Los Angeles). The "against" in the exhibition's title means alongside, not in opposition. The art, which includes an oversized vehicle, room-sized sets of furniture and large-scale images, draws from minimalism and formalism, along with industrial design from the 1920s to 1960s. Against Design took place at Institute of Contemporary Art (University of Pennsylvania) and at Museum of Contemporary Art - La Jolla.

I originally purchased this book to help me with some research into Agricultural Law, but the types of leases and agreements I was hoping to review (including agricultural leases, mineral leases, and real estate sales agreements) were specifically excluded. A fact which I discovered after purchasing the document.

However, of those documents that are available, it appears to give some good general forms. Each type of form has been given its own chapter. Each chapter contains (1) general and specific instructions; (2) a form of primary provisions, which will require the form user to fill in specifics; and (3) an attachment with general provisions (generic, possibly majority law).

As with all legal forms volumes, the casual user should be aware that these forms may not cover all legal issues. The author provides a general Disclaimer, which the reader MUST read. I would recommend that any non-lawyers who use this book, do what they can, but take the form and any necessary documentation to a lawyer. Your state's laws may require other information or documentation which is not provided in this book. That being said, this may be an excellent start to help you with your concerns as a landowner. Good luck.

I had hoped there would be more photographs of Colville's work in this book. I also would have liked to see the paintings that were referenced next to the text written about them. I found myself flipping back and forth through pages to find the photograph of a painting I had just read about.

I got the impression that the author was afraid of being critical at all and relied on criticism written by others. I also learned what an important man Alex Colville is to Canada (both from his point-of-veiw, taken from interviews, and the authors glowing praise.) I found his personal insights and beliefs about art refreshing and a little intimidating. I enjoyed the different sections in the book that examined the influences literature, art history, and location have on his paintings. I think this book is a fairly good overview of the man, but not of his work.

This book was very basic, but easy to follow. It was used in the classroom as an introduction to the life of Alexander the Great. The students were able to follow the story and wanted to learn more based on the brief discriptions of the places introduced in the story. I would recommend this book for a basic introduction to the life of Alexander the Great.

We checked this book out of the library and my 4 year old daughter insists on me reading it every night. A good testimonial! The book is pleasant and easy to read with nice illustrations. It provides a good basis for a discussion of need v. want. Like the above reviewer, I too was disappointed in the overly tidy ending. Also, the illustrations appear a bit too impressionistic (for example, it is difficult to identify Alicia on several pages) which frustrates my daughter and me.

A fairly comprehensive source of info about alternate tunings. The weakess is that so many are covered, there's not a lot of depth on each one. This isn't really an instruction book in the sense of including exercises, sample arrangements etc. Does include scales and some chords for each tuning, along with discographies for each tuning. A good place to start for someone who wants an introduction to several tunings, but you'll have to look elsewhere for additional insights into any particular tuning, or explore on your own.

...this book is somewhat uneven; it is almost implicitly written as a travel guide for those who might wish to visit the remnants of these fortifications and in that regard, the authors' amply accomplish their purpose. In essence, this volume seems to suffer from Osprey's failure to establish a uniform structure for this new Fortress series, leaving it up to the authors to decide what to focus upon. Thus a reader looking for greater detail about the fortifications will find that this volume does not suffice...

The authors cover the fall of the Manila Bay fortifications and their recapture in two sections totaling 19 pages. These sections are adequate, but provide relatively sparse detail on the garrisons and critical aspects of the siege...

Graphically, this volume is quite appealing. There are five 2-D maps (the Manila Bay environs, the defenses of Manila Bay in 1941, a strategic map in December 1941, the Japanese assault on Corregidor, the American recapture of Corregidor) and two very nice 3-D maps (Corregidor island and Carabao Island). However, none of the maps depict the range fans of the American coastal batteries, which is rather important. The artwork is also excellent and includes cut-away diagrams of Battery Cheney, Fort Drum as well as depictions of Battery Smith in action, Battery Gillespie, and the destruction of Battery Geary. The authors provide a bibliography and two appendices (American coast artillery weapons and a list of batteries around Manila Bay). In sum, this volume is very good in areas that the authors have chosen to emphasize, but it is noticeably lacking in areas that they found less interesting.

I had no previous experience with strokes. This book has a lot of info, but not as well written for a non-medical person as some of the other books available. Although the technical terms are accurate, I felt like I was back in college wading through professional jargon to get a grade, rather than simply finding answers to my questions.

First published in 1909, this version of these magical tales suffers a bit from the moralism of the times. For example, in place of the original theme that fatalism, in which all things are the will of Allah, Wiggins has put stern lessons about the perils of laziness and lack of constant virtue. Of course the erotic elements are missing, which may be quite appropriate for an edition intended for children.

Otherwise, I would have to say that almost all the magic, wonder, and adventure that are associated with the 1,001 Nights are to be found herein. The Maxfield Parish paintings are wonderful.

One of the most dissapointing elements is the decision to not include the "frame story" about Sheherizade telling these tales over the fabled 1,001 nights. Also much reduced is the constant use of tales-within-tales, a hallmark of the Arabian Nights collection. Both these changes tend to simplify the book, perhaps in a way that will make it more accessible and less confusing to young readers. But, then, this is hardly the book for young readers who do not like a challenge, especially since writing relies upon a lot of outdated words and word usage.

Originally written as a PhD thesis in 1986, this book should have been published sooner than it was (1993) because it forewarns just were Jacques Derrida's elusive philosophy was taking us - to a ghost dance, specifically to Derrida's latest ill-fated attempt to prove the ethico-political relevance of his Deconstruction in his book, Specters of Marx, 1993. The Architecture of Deconstruction focuses on Derrida's essays on Husserl (Introduction to the Origin of Geometry) and on Abraham and Torok (Fors) rather than Derrida's essays on architecture (there are enough now to full a book, many concerning Plato's intriguing use of the word Chora, but in '86 there was only one published) in order, writes Wigley, "to think the covert architectural economy of his (Derrida's) work", thus, a poverty of resource is disguised as a guiding principle. Wigley had ample opportunity to correct this before publishing but he chose not to. The core of Wigley's thesis is that there exists an unspoken contract between architecture and philosophy. The former lends itself to the latter as a cluster of metaphors for stability (spatially systematised concepts inside built on solid foundations outside) and in return architectural discourse is granted the authority and respectability of higher learning that only philosophy can give. And like all good conspiracy theories this is a self-fulfilling prophesy: someone will inevitably contradict you, thereby proving the conspiracy is operative by attempting to cover it up. If anything, this book proves that conspiracy theories do indeed work, but when Deconstruction dances, its partner will always be a ghost.