At the intersection of science, art, and design, this must-have coffee table book highlights 100 mind-blowing colors that you’ve likely never seen before. From Instagram sensation and self-described "mad scientist artist" Tyler Thrasher and creator of the popular Matter subscription box Terry Mudge, this book comes with a foreword by Hank Green. This gorgeous compendium contains 100 amazing colors that you might otherwise live your whole life unaware of. These colors exist in the strangest of places, and serve extremely specific functions in nature, or were human-made with one goal in mind. In this oversized, design-forward book you'll find entries for each of the 100 colors, organized in gradient order, with structural and impossible colors set at the end. Each entry has a 2-page spread with a full-page image of the color plus snappy descriptions, and easy-to-understand category symbols. Some entries include diagrams. Even includes structural colors and colors outside the range of human visibility! Also included is a brief introduction to color theory, a myth-busting section, plus index, glossary, and notes. Here is your universe in living color: Cosmic Latte: The average color of the universe. Dragon’s Blood: A tropical tree that bleeds red resin with incredible medicinal potential. Sonoluminescence: A color created by sound! Eigengrau: The color we perceive in the absence of light (and no, it's not "pitch black"). Perfect for anyone who loves science or art, and bursting with astonishing facts and stunning photography, The Universe in 100 Colors is a wonder for the senses.

This ambitious study explores how important darkness--artificial darkness--was, as an actual technology, in producing not just photographs but visual novelties and experiments in cinema in the nineteenth century. The study plays out against a backdrop of urban history, where most scholars have focused on the growth of artificial light and the electrification of cities. Elcott’s study challenges that approach. In considering zones of darkness, it ranges from the sites of production (darkrooms, studios) to those of reception (theaters/cinemas/arcades) that shaped modern media and perceptions. He argues that, in the nineteenth century, the avant-garde was often less interested in the filmed image than in everything surrounding it: the screen, the projected light, the darkness, the experience of disembodiment. He argues that darkness has a history separate from night, evil, or the color black, and has a specifically modern manifestation as a media technology. We are all aware of the "velvet light trap” in photography, but at the heart of this book are technologies of darkness crucial to cinema that were commonly known as "the black screen,” but have, over time, faded from the storied discourse.

Artists’ oil paints have become increasingly complex and diverse in the 20th Century, applied by artists in a variety of ways. This has led to a number of issues that pose increasing difficulties to conservators and collection keepers. A deeper knowledge of the artists’ intent as well as processes associated with material changes in paintings is important to conservation, which is almost always a compromise between material preservation and aesthetics. This volume represents 46 peer-reviewed papers presented at the Conference of Modern Oil Paints held in Amsterdam in 2018. The book contains a compilation of articles on oil paints and paintings in the 20th Century, partly presenting the outcome of the European JPI project ‘Cleaning of Modern Oil Paints’. It is also a follow-up on ‘Issues in Contemporary Oil Paint’ (Springer, 2014). The chapters cover a range of themes and topics such as: patents and paint manufacturing in the 20th Century; characterization of modern-contemporary oil paints and paint surfaces; artists’ materials and techniques; the artists’ voice and influence on perception of curators, conservators and scientists; model studies on paint degradation and long term stability; approaches to conservation of oil paintings; practical surface treatment and display. The book will help conservators and curators recognise problems and interpret visual changes on paintings, which in turn give a more solid basis for decisions on the treatment of these paintings.

How can we research the not-as-yet? The Research Event is concerned with enabling and nurturing an empirical and analytic sensibility that can address – that is speculate on – the emergent and the prospective in social life. A distinctive and novel contribution, this book introduces and expands on the notion of the ‘research event’, equipping the researcher with the speculative means to connect with the changing landscape of social scientific research. As such the research event is understood as a fluid, unfolding process that encompasses a multitude of heterogeneous ingredients, ranging from the formulation of research questions, through the vagaries of participant engagement, to the practices of writing and dissemination. The book aims to provide social science researchers with practical and conceptual heuristics for the ‘opening up’ of research practice so that it better engages with, but also better provokes, the possibilities that are entailed in the doing of social research. Inventively and entertainingly, the book draws on many of the author's own empirical examples to illustrate critically the use and value of these heuristics. As a research event in itself, this book is a speculation on prospective methodologies and an invitation to explore the possibilities of social research. This book will appeal to a broad range of social science researchers, from advanced undergraduates to established scholars. It will be a key reading in advanced BA and MA courses on alternative research methodologies, or a supplementary reading on more traditional courses aiming to include emerging methods.

Featuring international contributions from leading and emerging scholars, this innovative Research Handbook presents a panoramic view of how law sees visual art, and how visual art sees law. It resists the conventional approach to art and law as inherently dissonant – one a discipline preoccupied with rationality, certainty and objectivity; the other a creative enterprise ensconced in the imaginary and inviting multiple, unique and subjective interpretations. Blending these two distinct disciplines, this unique Research Handbook bridges the gap between art and law.

A lively account of our age-old quest for brighter colors, which changed the way we see the world, from the best-selling author of Proof: The Science of Booze From kelly green to millennial pink, our world is graced with a richness of colors. But our human-made colors haven't always matched nature's kaleidoscopic array. To reach those brightest heights required millennia of remarkable innovation and a fascinating exchange of ideas between science and craft that's allowed for the most luminous manifestations of our built and adorned world. In Full Spectrum, Rogers takes us on that globe-trotting journey, tracing an arc from the earliest humans to our digitized, synthesized present and future. We meet our ancestors mashing charcoal in caves, Silk Road merchants competing for the best ceramics, and textile artists cracking the centuries-old mystery of how colors mix, before shooting to the modern era for high-stakes corporate espionage and the digital revolution that's rewriting the rules of color forever. In prose as vibrant as its subject, Rogers opens the door to Oz, sharing the liveliest events of an expansive human quest--to make a brighter, more beautiful world--and along the way, proving why he's "one of the best science writers around."* *National Geographic

“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”

"Reading Vantablack I felt I'd found something I needed to read for a very long time. Something at the threshold of experience, beyond it, transcending it. To conceive of being disembodied, one has to first have a body; then one has to be able to conceptualise something beyond our singular subjectivity, which is impossible unless you are a poet, a philosopher, or a physicist. Something I always understood, and this book makes clear - black is not merely a colour, a concept or a substance but a terrifying lure. To be carried away so far by a piece of literature is an extraordinary achievement fully realised by the poet, and in turn, this reader. I experienced a recognition rarely felt - something indescribable - to find a word for that sensation is impossible - read this book."--Melissa Lee-Houghton, author of Sunshine (Penned in the Margins, 2016) Named after a black material developed by Surrey NanoSystems, a material which absorbs up to 99.965% of visible light, Vantablack is a meditation on the physical properties of the colour black, on the black of grief, elegance, seriousness, formality, rebellion, darkness, death and sadness.

From small decisions that paralyze us to big data that knows everything about us, Not to Scale is a thought-provoking guide to navigating the surprising complexities of a networked age when the things that are now shaping experience have no weight or size. The dictionary defines "scale" as a range of numbers, used as a system to measure or compare things. We use this concept in every aspect of our lives-it is essential to innovation, helps us weigh options, and shapes our understanding of the impact of our actions. In Not to Scale, Jamer Hunt investigates the complications of scale in the digital age, highlighting an interesting paradox: We now have a world of information at our fingertips, yet ironically the more informed we have become, the more overwhelmed we feel. The global effects of our daily choices (Paper or plastic? Own or lease? Shop local or buy online?) remain difficult for us to comprehend, and solutions to large-scale national and international issues feel inconceivable. Hunt explains how these challenges are intimately tied to a new logic of scale and provides readers with survival skills for the twenty-first century. By taking massive problems and shrinking them down to size, we can use scale to effect positive change and adapt to the modern era. Connecting our smallest decisions to the grand scheme of things, Not to Scale is a fascinating and empowering guide to comprehending and navigating the high stakes often obscured from our view.