A novel attempt to make sense of our preoccupation with copies of all kinds—from counterfeits to instant replay, from parrots to photocopies. The Culture of the Copy is a novel attempt to make sense of the Western fascination with replicas, duplicates, and twins. In a work that is breathtaking in its synthetic and critical achievements, Hillel Schwartz charts the repercussions of our entanglement with copies of all kinds, whose presence alternately sustains and overwhelms us. This updated edition takes notice of recent shifts in thought with regard to such issues as biological cloning, conjoined twins, copyright, digital reproduction, and multiple personality disorder. At once abbreviated and refined, it will be of interest to anyone concerned with problems of authenticity, identity, and originality. Through intriguing, and at times humorous, historical analysis and case studies in contemporary culture, Schwartz investigates a stunning array of simulacra: counterfeits, decoys, mannequins, and portraits; ditto marks, genetic cloning, war games, and camouflage; instant replays, digital imaging, parrots, and photocopies; wax museums, apes, and art forgeries—not to mention the very notion of the Real McCoy. Working through a range of theories on biological, mechanical, and electronic reproduction, Schwartz questions the modern esteem for authenticity and uniqueness. The Culture of the Copy shows how the ethical dilemmas central to so many fields of endeavor have become inseparable from our pursuit of copies—of the natural world, of our own creations, indeed of our very selves. The book is an innovative blend of microsociology, cultural history, and philosophical reflection, of interest to anyone concerned with problems of authenticity, identity, and originality. Praise for the first edition “[T]he author... brings his considerable synthetic powers to bear on our uneasy preoccupation with doubles, likenesses, facsimiles, replicas and re-enactments. I doubt that these cultural phenomena have ever been more comprehensively or more creatively chronicled.... [A] book that gets you to see the world anew, again.” —The New York Times “A sprightly and disconcerting piece of cultural history” —Terence Hawkes, London Review of Books “In The Culture of the Copy, [Schwartz] has written the perfect book: original and repetitive at once.” —Todd Gitlin, Los Angeles Times Book Review

Dale Tulliver was a product of the 21st Century, the era of non-violence, permanent peace, and the drugs that controlled warlike emotions. He was a police agent of the Peace Committee that controlled the world. Naomi Constance Fisher had been a crusading writer of the 20th Century. She had been a vigorous advocate of world peace, woman's liberation, and social progress. She had been frozen in near-death for decades--and then they brought her back to life to enjoy the fruits of her thinking. But instead of augmenting the forces of peace it turned out that what Dale's world meant by peace and what Naomi meant by peace were two different--and violently conflicting things.

Simulation in healthcare education has a long history, yet in many ways, we have been reinventing the wheel during the last 25 years. Historically, simulators have been much more than simple models, and we can still learn from aspects of simulation used hundreds of years ago. This book gives a narrative history of the development of simulators from the early 1700s to the middle of the 20th century when simulation in healthcare appeared to all but die out. It is organized around the development of simulation in different countries and includes at the end a guide to simulators in museums and private collections throughout the world. The aim is to increase understanding of simulation in the professional education of healthcare providers by exploring the historical context of simulators that were developed in the past, what they looked like, how they were used, and examples of simulator use that led to significant harm and an erosion of standards. The book is addressed to the healthcare simulation community and historians of medicine. The latter in particular will appreciate the identification and use of historic sources written in Latin, German, Italian, French, Polish and Spanish as well as English.

Protective clothing and equipment used for firefighters protect them against their harsh working environment loaded with strong thermal hazards, elevated environmental temperatures, low oxygen concentration and smoke. This book describes an in-depth review of firefighting clothing and equipment, and explicitly addresses the performance of protection and comfort in textile engineering, clothing design, and evaluation. Covered topics include protection and comfort requirements for firefighting clothing and equipment, testing methods, standards and performance evaluation, smart firefighting clothing for first responders and numerical modeling of performance of firefighting clothing. Key Features Presents complete overview about the requirements of firefighters' protective clothing/thermal protective materials Addresses performance of protection and comfort Includes human thermoregulation system and responses to firefighting working environment Discusses SMART firefighting clothing and equipment Suggests "how to improve the wear comfort?

The articulated human figure made of wax or wood has been a common tool in artistic practice since the 16th century. Its mobile limbs enable the artist to study anatomical proportion, fix a pose at will, and perfect the depiction of drapery and clothing. Over the course of the 19th century, the mannequin gradually emerged from the studio to become the artist's subject, at first humorously, then in more complicated ways, playing on the unnerving psychological presence of a figure that was realistic, yet unreal--lifelike, yet lifeless. Silent Partners locates the artist's mannequin within the context of an expanding universe of effigies, avatars, dolls, and shop window dummies. Generously illustrated, this book features works by such artists as Poussin, Gainsborough, Degas, Courbet, Cézanne, Kokoschka, Dalí, Man Ray, and others; the astute, perceptive text examines their range of responses to the uncanny and highly suggestive potential of the mannequin. Published in association with the Fitzwilliam Museum Exhibition Schedule: Musée Bourdelle, Paris (03/15/15-05/15/15) Fitzwilliam Museum (10/14/14-01/15/15)

Beneath the original Venetian glass and rosewood case at La Specola in Florence lies Clemente Susini's Anatomical Venus (c. 1790), a perfect object whose luxuriously bizarre existence challenges belief. It - or, better, she - was conceived of as a means to teach human anatomy without need for constant dissection, which was messy, ethically fraught and subject to quick decay. This life-sized wax woman is adorned with glass eyes and human hair and can be dismembered into dozens of parts revealing, at the final remove, a beatific foetus curled in her womb. Sister models soon appeared throughout Europe, where they not only instructed the specialist students, but also delighted the general public. Deftly crafted dissectable female wax models and slashed beauties of the world's anatomy museums and fairgrounds of the 18th and 19th centuries take centre stage in this disquieting volume. Since their creation in late 18th-century Florence, these wax women have seduced, intrigued and amazed. Today, they also confound, troubling the edges of our neat categorical divides: life and death, science and art, body and soul, effigy and pedagogy, spectacle and education, kitsch and art. Incisive commentary and captivating imagery reveal the evolution of these enigmatic sculptures from wax effigy to fetish figure and the embodiment of the uncanny.