Grazing management might seem simple: just put livestock in a pasture and let them eat their fill. However, as Sarah Flack explains in The Art and Science of Grazing, the pasture/livestock relationship is incredibly complex. If a farmer doesn't pay close attention to how the animals are grazing, the resulting poorly managed grazing system can be harmful to the health of the livestock, pasture plants, and soils. Well-managed pastures can instead create healthier animals, a diverse and resilient pasture ecosystem, and other benefits. Flack delves deeply below the surface of "let the cows eat grass," demonstrating that grazing management is a sophisticated science that requires mastery of plant and animal physiology, animal behavior, and ecology. She also shows readers that applying grazing management science on a working farm is an art form that calls on grass farmers to be careful observers, excellent planners and record-keepers, skillful interpreters of their observations, and creative troubleshooters. The Art and Science of Grazing will allow farmers to gain a solid understanding of the key principles of grazing management so they can both design and manage successful grazing systems. The book's unique approach presents information first from the perspective of pasture plants, and then from the livestock perspective--helping farmers understand both plant and animal needs before setting up a grazing system. This book is an essential guide for ruminant farmers who want to be able to create grazing systems that meet the needs of their livestock, pasture plants, soils, and the larger ecosystem. The book discusses all the practical details that are critical for sustained success: how to set up a new system or improve existing systems; acreage calculations; paddock layout; fence and drinking water access; lanes and other grazing infrastructure; managing livestock movement and flow; soil fertility; seeding and reseeding pastures; and more. The author includes descriptions of real grazing systems working well on dairy, beef, goat, and sheep farms in different regions of North America. The book covers pasture requirements specific to organic farming, but will be of use to both organic and non-organic farms.

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art. Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.

Scientists are famous for believing in the proven and peer-accepted, the very ground that pioneering artists often subvert; they recognize correct and incorrect where artists see only true and false. And yet in some individuals, crossover learning provides a remarkable kind of catalyst to innovation that sparks the passion, curiosity, and freedom to pursue--and to realize--challenging ideas in culture, industry, society, and research. This book is an attempt to show how innovation in the "post-Google generation" is often catalyzed by those who cross a conventional line so firmly drawn between the arts and the sciences. David Edwards describes how contemporary creators achieve breakthroughs in the arts and sciences by developing their ideas in an intermediate zone of human creativity where neither art nor science is easily defined. These creators may innovate in culture, as in the development of new forms of music composition (through use of chaos theory), or, perhaps, through pioneering scientific investigation in the basement of the Louvre. They may innovate in research institutions, society, or industry, too. Sometimes they experiment in multiple environments, carrying a single idea to social, industrial, and cultural fruition by learning to view traditional art-science barriers as a zone of creativity that Edwards calls artscience. Through analysis of original stories of artscience innovation in France, Germany, and the United States, he argues for the development of a new cultural and educational environment, particularly relevant to today's need to innovate in increasingly complex ways, in which artists and scientists team up with cultural, industrial, social, and educational partners.