Displacing and Displaying the Objects of Others is a thought-provoking collection that brings together a diverse range of contributions inspired by research from the "Hamburg's (post-)colonial legacy" research center. The authors explore new perspectives in provenance research by situating it within the broader contexts of global history, colonial history, and postcolonial studies. This volume goes beyond simply tracing the origins of objects, considering the significant impact on the societies from which these objects originate. It also critically examines how these objects were used in collections and museums and how the process of musealization shaped collecting practices. With its multiperspective approach, Displacing and Displaying the Objects of Others encourages readers to reflect on the deep connections between past and present and to consider responsible ways of engaging with colonial collections.

Botanical gardens brought together in a single space the great diversity of the earth's flora. They displaced nature from forest and foothill and re-arranged it to reveal something of the scientific principles underpinning the apparent chaos of the wild. Nature Displaced, Nature Displayed shows how the design and display of such gardens was not determined by scientific principles alone. Through a study of three botanical gardens - belonging to the University of Cambridge, the Royal Dublin Society, and the Belfast Natural History Society - the author shows how the final outcome involved a complex interplay of ideas about place, identity, empire, botanical science, and especially aesthetics, creating spaces that would educate the mind as well as please the senses. This highly engaging book offers a wealth of fresh insights into both the history and development of botanical gardens as well as connections between science and aesthetics.

The book, Objects of War, illuminates the ways in which people have used things to grapple with the social, cultural, and psychological upheavals wrought by war and forced displacement.― Utah Public Radio Historians have become increasingly interested in material culture as both a category of analysis and as a teaching tool. And yet the profession tends to be suspicious of things; words are its stock-in-trade. What new insights can historians gain about the past by thinking about things? A central object (and consequence) of modern warfare is the radical destruction and transformation of the material world. And yet we know little about the role of material culture in the history of war and forced displacement: objects carried in flight; objects stolen on battlefields; objects expropriated, reappropriated, and remembered. Objects of War illuminates the ways in which people have used things to grapple with the social, cultural, and psychological upheavals wrought by war and forced displacement. Chapters consider theft and pillaging as strategies of conquest; soldiers' relationships with their weapons; and the use of clothing and domestic goods by prisoners of war, extermination camp inmates, freed people, and refugees to make claims and to create a kind of normalcy. While studies of migration and material culture have proliferated in recent years, as have histories of the Napoleonic, colonial, World Wars, and postcolonial wars, few have focused on the movement of people and things in times of war across two centuries. This focus, in combination with a broad temporal canvas, serves historians and others well as they seek to push beyond the written word. Contributors: Noah Benninga, Sandra H. Dudley, Bonnie Effros, Cathleen M. Giustino, Alice Goff, Gerdien Jonker, Aubrey Pomerance, Iris Rachamimov, Brandon M. Schechter, Jeffrey Wallen, and Sarah Jones Weicksel

The relationship between sculpture and pedestal is at the intersection of a number of art-historical disciplines, ranging from the history of design, architecture, and urbanism to museum studies, yet because of its supporting role it has remained a largely neglected and unstudied field. This book includes essays that range from sixteenth-century Venice to twenty-first-century London, providing a fascinating variety of approaches. The contributors include Victoria Avery, Malcolm Baker, Etienne Jollet, Charlotte Chastel-Rousseau, Sue Malvern, Alison Yarrington, Philip Ward-Jackson, David Getsy, and Jon Wood.

Beginning AutoCAD 2005 is a course based on learning and practising the essentials of 2D drawing using AutoCAD. Bob McFarlane’s hands-on approach is uniquely suited to independent learning and use on courses. The focus on 2D drawing in one book, ensures the reader gets a thorough grounding in the subject, with a greater depth of coverage than tends to be available from general introductions to AutoCAD. As a result, this book provides a true, step-by-step, detailed exploration of the AutoCAD functions required at each stage of producing a 2D drawing – an approach often not found in the many software reference guides available. The emphasis on learning through doing makes this book ideal for anyone involved in engineering, construction or architecture – where the focus is on productivity and practical skills. The author has also matched the coverage to the requirements of City and Guilds, Edexcel (BTEC) and SQA syllabuses. New features in AutoCAD 2005 are covered in this book including: Drafting Tools; Drawing Management; Drawing Output; Plot and Publish Tools; Productivity Tools; Sheet Set Manager, and Tool Palette Enhancements. The result is a useful refresher course for anyone using AutoCAD at this level, and those upgrading to the new software release. The course is also designed to be fully relevant to anyone using other recent releases, including AutoCAD 2004. Bob McFarlane is Curriculum Manager for CAD and New Media at Motherwell College, Scotland, and an Autodesk Educational Developer.

An overview of a series of installations made in the artists’ home in Greenwich, 2001-2011, supported by Cafe Gallery Projects. Each section of the book documents a different project. Each section is introduced by the artist. Essay by Katy Deepwell. This epub contains extensive photo-documentation of each of the projects and external links to video clips showing documentary footage inside each installation.

The uprooting and displacement of people has long been among the hardships associated with development and modernity. Indeed, the circulation of commodities, currency, and labor in modern society necessitates both social and spatial mobility. However, the displacement and resettlement of millions of people each year by large-scale infrastructural projects raises serious questions about the democratic character of the development process. Although designed to spur economic growth, many of these projects leave local people struggling against serious impoverishment and gross violations of human rights. Working from a political-ecological perspective, Anthony Oliver-Smith offers the first book to document the fight against involuntary displacement and resettlement being waged by people and communities around the world. Increasingly over the last twenty-five years, the voices of people at the grass roots are being heard. People from many societies and cultures are taking action against development-forced displacement and resettlement (DFDR) and articulating alternatives. Taking the promise of democracy seriously, they are fighting not only for their place in the world, but also for their place at the negotiating table, where decisions affecting their well-being are made.

Looks at how racial identity is produced in novels by James, Faulkner and Morrison and makes the non-essentialist argument that "race" becomes visible to us through a process of image production and exchange.

Realistic and immersive simulations of land, sea, and sky are requisite to the military use of visual simulation for mission planning. Until recently, the simulation of natural environments has been limited first of all by the pixel resolution of visual displays. Visual simulation of those natural environments has also been limited by the scarcity of detailed and accurate physical descriptions of them. Our aim has been to change all that. To this end, many of us have labored in adjacent fields of psych- ogy, engineering, human factors, and computer science. Our efforts in these areas were occasioned by a single question: how distantly can fast-jet pilots discern the aspect angle of an opposing aircraft, in visual simulation? This question needs some ela- ration: it concerns fast jets, because those simulations involve the representation of high speeds over wide swaths of landscape. It concerns pilots, since they begin their careers with above-average acuity of vision, as a population. And it concerns aspect angle, which is as much as to say that the three-dimensional orientation of an opposing aircraft relative to one’s own, as revealed by motion and solid form. v vi Preface The single question is by no means simple. It demands a criterion for eye-limiting resolution in simulation. That notion is a central one to our study, though much abused in general discussion. The question at hand, as it was posed in the 1990s, has been accompanied by others.