As the nineteenth century turned, the small-town America in which Huck Finn fished was yielding to an age of industry; of a new form of energy, electricity; of a new toy, the automobile. It was a plastic age, as uncertain as our own, a time When the future was ready to be shaped. Grand Eccentrics is a group biography of a half dozen individuals-- Orville and Wilbur Wright, Charles Kettering, John H. Patterson, Arthur Morgan, and James Cox-- who explored those new possibilities. They collaborated, bankrolled each other's undertakings, founded and joined the same clubs, tried to run each other out of town. And in all of this, they did much to create the American 20th century, the America that is now yielding to the rise of the electronic technologies and a global marketplace, creating an uncertainty like that to which, a century ago, these men gave form.

What if we ascribe significance to aesthetic and social divergences rather than waving them aside as anomalous? What if we look closely at what does not appear central, or appears peripherally, or does not appear at all, viewing ellipses, outliers, absences, and outtakes as significant? Eccentric Modernisms places queer demands on art history, tracing the relational networks connecting cosmopolitan eccentrics who cultivated discrepant strains of modernism in America during the 1930s and 1940s. Building on the author’s earlier studies of Gertrude Stein and other lesbians who participated in transatlantic cultural exchanges between the world wars, this book moves in a different direction, focusing primarily on the gay men who formed Stein’s support network and whose careers, in turn, she helped to launch, including the neo-romantic painters Pavel Tchelitchew and writer-editor Charles Henri Ford. Eccentric Modernisms shows how these “eccentric modernists” bucked trends by working collectively, reveling in disciplinary promiscuity and sustaining creative affiliations across national and cultural boundaries.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity. Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

The background and interwoven streams of team cognition and distributed cognition fermenting together has wielded new nuances of exploration, which continue to be relevant for a theoretical understanding of team phenomena. Foundations and Theoretical Perspectives of Distributed Teams Cognition looks at fundamentals, theoretical concepts, and how theory informs perspectives of thinking for distributed team cognition. The chapters yield a broad understanding of the nature of diverse thinking and insights into technologies, foundations, and theoretical perspectives of distributed team cognition. Features Generates historical patterns and significance that compose developmental trajectories Explains multiple perspectives that incorporate an interdisciplinary understanding that specifies diverse theories Identifies and develops particular challenges resident within team simulation studies and then illustrates research frameworks Highlights and reviews how team simulations are used to produce dynamic experimental results Investigates and studies research variables within distributed team cognition

Throughout the long history of England there have been eccentrics from all walks of life but none more so than those attached to the church. The aristocrat and squirarchy have also been strangely drawn to this calling. The sense of infallibility peculiar to the English has been the hallmark of their eccentricity.

The articles collected in this book provide much of the technical material behind the work that was presented in The Human Factor, and the commentaries by Alex Kirlik situate these articles in their broader historical, scientific and ethical context. This collection of articles and commentaries forms a set of recommendations for how HTI research ought to broaden both its perspective and its practical, even ethical, aspirations to meet the increasingly complicated challenges of designing technology to support human work, to improve quality of life, and to design the way will live with technology.

In the early fall of 1958, the notorious Olympia Press in Paris published a novel entitled Candy, an erotic, Rabelaisian satire loosely based on Voltaire's Candide by one Maxwell Kenton, pseudonym of its coauthors, Terry Southern and Mason Hoffenberg. The novel drew the attention of the French censors, was banned, reissued by Olympia's intrepid publisher under the title Lollipop, rebanned, then again reissued. Within years it became one of the most talked-about novels of the tumultuous 1960s, selling in the millions of copies in America alone, its success prompting Hollywood to turn it into a movie. The hilarious, rollicking, sometimes tragic story of Candy's public career is recounted here in full. From the book's humble beginnings in late 1950s Paris through its agonizing three-year gestation (sometimes on paper napkins) and the authors' wily, often self-destructive business dealings with their equally wily French publisher, to its chaotic and controversial publication in the United States, The Candy Men follows Candy's underground then mainstream success—with unblinking scrutiny on the details, including the legal shenanigans that surrounded it, the blatant piracy that plagued it, and the star-studded cast that helped make it into one of the worst movies of all time. Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

Postcolonizing the International brings post-colonialism directly into engagement with contemporary international studies, while at the same time reflecting back on the discourse, noting certain blindspots and shortcomings in critique. Reversing the established agenda, it begins with the position of non-European societies and the legacies of colonialism. Two companion essays on knowledge formations about the international and the changing nature of the political are followed by challenging reinterpretations of contemporary global politics focusing on race, skewed development, cultural difference, and everyday life. Individual chapters speak to the significance of consumption and commodification, the need for redirecting Western development stategies, initiatives of the Tibetan cabinet in exile, and sexuality as metaphor. Contributors: Phillip Darby, Paul James, Gabriel Lafitte, Marcia Langton, Ashis Nandy, Edgar Ng, Sekai Nzenza, Simon Obendorf, Nabaneeta Dev Sen.

An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson. Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life—magazines, postcards from other artists, notebooks, and perhaps most important, his library—from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again—alone and with fellow artists—to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.

In a lucid, brilliant work of nonfiction, Larry McMurtry has written a family portrait that also serves as a larger portrait of Texas itself, as it was and as it has become. Using an essay by the German literary critic Walter Benjamin that he first read in Archer City's Dairy Queen, McMurtry examines the small town way of life that big oil and big ranching have nearly destroyed. He praises the virtues of everything from a lime Dr. Pepper to the lost art of oral storytelling, and describes the brutal effect of the sheer vastness and emptiness of the Texas landscape on Texans, the decline of the cowboy, and the reality and the myth of the frontier.​ McMurtry writes frankly and with deep feeling about his own experiences as a writer, a parent, and a heart patient, and he deftly lays bare the raw material that helped shape his life's work: the creation of a vast, ambitious, fictional panorama of Texas in the past and the present. Throughout, McMurtry leaves his readers with constant reminders of his all-encompassing, boundless love of literature and books.