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Ganz
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Garden
"The garden, a recurring motif in the work of Zurich-based Edelaar Mosayebi Inderbitzin Architects, features prominently in many of their architectural projects as idea, vision, or built space. In their exhibition Garten at Architektur Galerie Berlin in fall 2016, the architects foregrounded that topos and, in collaboration with Swiss landscape designer Daniel Ganz, transformed the gallery space into a living garden. The eponymous booklet features this temporary installation and offers an insight into its making in striking photographs by Jan Bitter and Roland Bernath. Essays by Edelaar Mosayebi Inderbitzin and Stephen Bates and a conversation with the architects by Martin Steinmann explore the meaning of the garden in a selection of their projects also from a historical and theoretical perspective"--Back cover.
House of C. G. Jung
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Supreme Court
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Advanced Thermoforming
Introduces the latest innovations in thermoforming materials, processes, and applications Advanced Thermoforming brings readers fully up to date with the latest standards, processes, materials, and applications in the field. From forming to filling to sealing processes, the author explains everything that can now be accomplished using the most advanced thermoforming technologies available. Moreover, readers learn how to fully leverage these technologies in order to design and manufacture products that meet all specifications at minimum cost and maximum efficiency. Emphasizing the application of advanced thermoforming for the production of technical parts and packaging, the book: Guides reade...
Witnessing the Disaster
Witnessing the Disaster examines how histories, films, stories and novels, memorials and museums, and survivor testimonies involve problems of witnessing: how do those who survived, and those who lived long after the Holocaust, make clear to us what happened? How can we distinguish between more and less authentic accounts? Are histories more adequate descriptors of the horror than narrative? Does the susceptibility of survivor accounts to faulty memory and the vestiges of trauma make them any more or less useful as instruments of witness? And how do we authenticate their accuracy without giving those who deny the Holocaust a small but dangerous foothold? These essayists aim to move past the notion that the Holocaust as an event defies representation. They look at specific cases of Holocaust representation and consider their effect, their structure, their authenticity, and the kind of knowledge they produce. Taken together they consider the tension between history and memory, the vexed problem of eyewitness testimony and its status as evidence, and the ethical imperatives of Holocaust representation.
The Numismatist
Vols. 24-52 include the proceedings of the A.N.A. convention. 1911-39.
Religion and Cultural Memory
In ten brilliant essays, Jan Assmann explores the connections between religion, culture, and memory. Building on Maurice Halbwachs's idea that memory, like language, is a social phenomenon as well as an individual one, he argues that memory has a cultural dimension too. He develops a persuasive view of the life of the past in such surface phenomena as codes, religious rites and festivals, and canonical texts on the one hand, and in the Freudian psychodrama of repressing and resurrecting the past on the other. Whereas the current fad for oral history inevitably focuses on the actual memories of the last century or so, Assmann presents a commanding view of culture extending over five thousand years. He focuses on cultural memory from the Egyptians, Babylonians, and the Osage Indians down to recent controversies about memorializing the Holocaust in Germany and the role of memory in the current disputes between Israelis and Palestinians in the Middle East and between Protestants and Catholics in Northern Ireland.
