Dive deep into the world of this everyday insect -- and the science behind its uncertain future. Bumble bees are as familiar to most of us as the flowers these fuzzy insects feed upon. But did you know that the bees in your garden could be escapees from a local greenhouse, or descended from stowaways on a Viking ship?Bumble bees are a vital part of our lives and Earth's ecosystems, so much so that we've commercialized their breeding and shipped them across states, countries, and ecosystems for our benefit. However, all of that human interference has consequences. Bumble bees are pushing out native species and altering ecosystems worldwide. Pesticide use has led to the spread of disease in local colonies. And some species may be disappearing entirely.The Beekeepers is an expertly researched overview of bumble bees -- from hive hierarchies to how their brains work -- and the passionate humans and scientists who are fighting for their survival. With a thoughtful and accessible voice, researcher Dana Church introduces readers to the fascinating world of bumble bees, how and why some are thriving while others are floundering, and how both experts and regular citizens are working to ensure their future. Equal parts endearing, frustrating, and hopeful, this scientific narrative is essential for readers looking to understand and make an impact on our changing world.

Art Now at Tate Britain provides an important platform for contemporary art, giving vital exposure to artists at an early stage of their career. The wide-ranging programme responds to developments in contemporary practice by British artists, and artists living and working in Britain. Documenting over two years of Art Now projects, this book offers fully-illustrated texts on twenty-seven of the most interesting artists working in Britain today. A round-table discussion between critics, curators and artists contextualises the programme alongside developments within the art world, offering a unique guide to current practice.

What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? Derek Attridge argues that the challenge of Derrida's work for our understanding of literature and its value has still not been fully met, and in this book, which traces a close engagement with Derrida's writing over two decades and reflects an interest in that work going back a further two decades, shows how that work can illuminate a variety of topics. Chapters include an overview of deconstruction as a critical practice today, discussions of the secret, postcolonialism, ethics, literary criticism, jargon, fiction, and photography, and responses to the theoretical writing of Emmanuel Levinas, Roland Barthes, and J. Hillis Miller. Also included is a discussion of the recent reading of Derrida's philosophy as 'radical atheism', and the book ends with a conversation on deconstruction and place with the theorist and critic Jean-Michel Rabate. Running throughout is a concern with the question of responsibility, as exemplified in Derrida's own readings of literary and philosophical texts: responsibility to the work being read, responsibility to the protocols of rational argument, and responsibility to the reader.

Sarah Lowndes looks back at the rise of the Glasgow art scene through the decades, from community art to Thatcher, New Wave to Teenage Fanclub. Charting the emergence of performance and conceptual-related art, she looks at the background from which the art of the last 40 years emerged.

Formed by Harvey S. Shipley Miller, trustee of the Judith Rothschild Foundation, and given to MoMA in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be a broad survey of contemporary drawing practice, and it more than fulfils that goal, mixing drawings of the 1960s and 1970s with major works of the past twenty years by such artists as Kai Althoff, Robert Crumb, Peter Doig, Marcel Dzama, Mark Grotjahn, Charline von Heyl, Martin Kippenberger, Sherrie Levine, Agnes Martin, Fred Sandback, Paul Thel and Andrea Zittel, among many others. This definitive catalogue raisonné presents the collection as a whole, with an introduction by Christian Rattemeyer; five essays each focusing on a different geographic area of artistic production; images throughout; and a text on paper conservation.

Sixteen-year-old Jenna Kemp is a typical high school girl, complete with a loyal group of friends and a seemingly understanding boyfriend. But when the demons from Jenna's childhood resurface, she's suddenly spinning out of control--drinking, partying--anything to numb the pain of the past. After distancing herself from her friends and befriending an outcast, her friends and family start questioning and judging her choices. But when Jenna doesn't come home one night, her friends and family realize it's more than just adolescent rebellion. Jenna's mysterious disappearance proves that there's more on the line than they realized. As they sift through a series of her personal diaries, the truth becomes terrifying. Will Jenna's final diary entry reveal the greatest mystery of all--her whereabouts?

Did You Know? In 1884 the Circle Line opened and was described in The Times as 'a form of mild torture which no person would undergo if he could conveniently help it.' According to one psychologist, Tube commuters can experience greater levels of stress than a police officer facing a rioting mob or even a fighter pilot going into a dogfight. Underground trains have only twice been used to transport deceased people in coffins: William Gladstone and Dr Barnardo. Some of the most bizarre items handed in to lost property include 250lb of sultanas, a 14ft canoe, a child's garden slide, a harpoon gun, a pith helmet, an artificial leg, someone's brother's ashes and a sealed box containing three dead bats. WITH well over a billion passengers a year, more than 250 miles of track, literally hundreds of different stations and a history stretching back at least 160 years, the world's oldest underground railway might seem familiar, but how well do you actually know it? This book offers a feast of Tube-based trivia for travellers and lovers of London alike.

A provocative book, an important book! jagodzinski's and Wallin's 'betrayal' is in fact a wake-up call for art-based research, a loving critique of its directions. jagodzinski's and Wallin's reference is the question 'what art can do' – not what it means. Theirs is an ultimate affirmation that uncovers the singularities that compose and give consistency to art not as an object, but as an event. Their betrayal consists in an affirmation of life and becoming, positing a performative 'machinics of the arts' which is in absolute contraposition with the hegemonic discourse of art and|as an object of knowledge and representation. This does not only concern academia, but also politics and ethics – an untimely book that comes just at the right time! Bernd Herzogenrath, Goethe Universität Frankfurt am Main (Germany), author of An American Body|Politic. A Deleuzian Approach, and editor of Deleuze & Ecology and Travels in Intermedia[lity]. ReBlurring the Boundaries. Approaching the creative impulse in the arts from the philosophical perspectives of Deleuze + Guattari, jagodzinski and Wallin make a compelling argument for blurring the boundaries of arts-based research in the field of art education. The authors contend that the radical ideas of leading scholars in the field are not radical enough due to their reliance on existing research ontologies and those that end in epistemological representations. In contrast, they propose arts-based research as the event of ontological immanence, an incipient, machinic process of becoming-research through arts practice that enables seeing and thinking in irreducible ways while resisting normalization and subsumption under existing modes of address. As such, arts practice, as research-in-the making, constitutes a betrayal of prevailing cultural assumptions, according to the authors, an interminable renouncement of normalized research representations in favor of the contingent problematic that emerges during arts practice. Charles R. Garoian, Professor of Art Education, Penn State University, author of The Prosthetic Pedagogy of Art. Jagodzinski and Wallin have written a challenging book on the theme of betrayal which aims to question the metaphysical ground of the practice of many arts educators and researchers. Dismantling the notion of praxis which assumes a prior will as well as the pervasive notion of the creative and reflexive individual, they revisit the notion of poiesis and the truth of appearing in order to advocate the centrality of becoming in pedagogical relations. Is it possible to develop pedagogies beyond those images of thought that attenuate learners, teachers and researchers? We need a new image of thought, or better, a thought without image, and this book asks us to take up the challenge. Dennis Atkinson, Director of the Centre for the Arts and Learning, Department of Educational Studies, Goldsmiths University of London, author of Art Equality and Learning; Pedagogies Against the State.