It's taken me 32 years to do this book on a variety of different machines. Working with a damaged brain is nobody's picnic and with the tremors in my hands, I cannot fly over the keyboard. I have to do it one-key-at-a-time. It started out as a novel but I turned it into an autobiography¿real people, real names. Many things happened while this epistle traveled through four states, two marriages, pages got lost, even whole chapters, and all had to be rewritten. Page numbers got skewed and had to be redone.The Non-Disclosure Form they made me sign expired in December 1998¿basically a gag order for thirty years. Even my Dad, a Bird Colonel and Judge Advocate General of the Marine Corps, had to sign it. He is responsible for getting me out of Vietnam because I had no official orders to be there. And he brought charges on five Naval officers that had anything to do in sending me to Vietnam.This is a story that needs to be told.

This often-startlingly original book introduces a new way of thinking about color in film as distinct from existing approaches which tend to emphasize either technical processes and/or histories of film coloration, or the meaning(s) of color as metaphor or symbol, or else part of a broader signifying system. Murray Pomerance's latest meditation on cinema has the author embed himself in various ways of thinking about color; not ways of framing it as a production trick or a symbolic language but ways of wondering how the color effect onscreen can work in the act of viewing. Pomerance examines many issues, including acuity, dreaming, interrelationships, saturations, color contrasts, color and performance (color as a performance aid or even performance substitute), and more. The lavender of the photographer's seamless in Antonioni's Blow-Up taken in itself as an explosion of color worked into form, and then considered both as part of the story and part of our experience. The 14 chapters of this book each discuss a single primary color as regards to our experience of cinema. After opening the idea of such an exploration in terms of the history of our apperception and the variation in our experience that color germinates, Color it True takes form.

Tapestry making flourished in the major centers of western Europe from the fourteenth through the nineteenth centuries. Thousands of tapestries were woven as special commissions for church, crown, and nobility. This publication is a comprehensive catalogue of the Museum's collection of tapestries and allied works made after the Middle Ages.-- Metropolitan Museum of Art website.

The interdisciplinary nature of limnology requires lucid and well-integrated coverage of biology, chemistry, physics, earth science, and resource management. Paul Weihe skillfully accomplishes this objective in his revision of Gerald Cole’s classic limnology text. This long-awaited revision introduces concepts in straightforward terms, replete with detailed examples, elegant illustrations, and up-to-date, well-researched documentation. Outstanding features of the fifth edition include: • A global outlook with examples from every continent • Discussions of the impact of environmental challenges (e.g., climate change, eutrophication, river regulation) with case studies of real-world examples • A chapter devoted to wetlands • A thorough examination of biogeochemistry, including recent anthropogenic alteration and a reconsidered understanding of stoichiometric relationships • Expanded treatment of hydrology, utilizing empirical approaches to discharge determination and effects of land-use changes • A reorganized presentation of biodiversity, explicitly correlating profiles of biota with community ecology and ecosystem function • Updated taxonomy with a description of the new metagenomic approach, nomenclature strictly adhering to the intergovernmental Integrated Taxonomic Information System