1,000 pictures into 128 pages makes for quite a spectacle, especially when European, American and Australian trucking is encompassed.

History buffs may appreciate the chapters dedicated to early makes from both the USA and Europe, from a pictorial perspective at least. The collage of early truck brochure covers is a a nice touch.

Tow trucks, off-highway trucks and Australian road trains are not left out either, and there are the show truck and race truck chapters to add spice.

As befits many light weight pictorial books, factual errors abound. I suggest that you take all text with a big chunk of salt.

A pure reference book this is not, but the 1,000 colorful photos should hold an enthusiast's interest. As an alternative amusement one or more players can play "spot the mistake" or "what is wrong with this picture?"

A large colorful glossy hardback with interesting and varied pictures, including a number of cab interior shots.

This book is incorrectly identified as being by Jean-Luc Nancy and Michel Maffesoli, a promising collaboration, but one that only materializes under the patronage of Amazon's data entry staff. It includes interviews with these two, which, as interviews go, are interviewy. The bulk of the book is by MICHEL GAILLOT and is about techno, as in Techno music. As french art critical writing about techno music goes, it is french art critical writing about techno music.

enjoy at a distance.

Without in any way proclaiming a theme or message, techno, in its loud silence, seems to imply that the old socio-historic figures of meaning no longer make sense, and consequently can no longer fragment or partition the world according to an ethnic or political score that until now has been divided up into separate and opposed identities.

As can be easily seen in raves, as well in many contemporary artistic practices, art and politics are no longer separate (as if designating heterogenous fields of operations), but are joined in collective articulations, flexible and ephemeral, forming around common sensations.

Such a convergence of the artistic (understood to mean both art and technology) and the political does not neccesarily mean that we have moved toward an aetheticizing of the political (the community as a work of art) or a politicizing of art (a social or critical art).

This indicates perhaps that it still remains for us to concieve an art that is no longer merely a representation of the Ideal, to concieve of technology whose ends are not merely economic imperatives, and a political space not grounded in only one Truth.

This constitutes a program that rests on the possibility of inventing, singularly and collectively, an existence that no longer diverts from its own finality, and from its free deployment within the horizons of worldliness, cross-bred and deterritorialized, offered to us at present. With all due respect to the defenders of the purity of the Ideal, this may well be, for our time and those of us who share it, both our task and our fate.