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“One of the most exciting developments from the world of ideas in decades, presented with panache by two frighteningly brilliant, endearingly unpretentious, and endlessly creative young scientists.” – Steven Pinker, author of The Better Angels of Our Nature Our society has gone from writing snippets of information by hand to generating a vast flood of 1s and 0s that record almost every aspect of our lives: who we know, what we do, where we go, what we buy, and who we love. This year, the world will generate 5 zettabytes of data. (That’s a five with twenty-one zeros after it.) Big data is revolutionizing the sciences, transforming the humanities, and renegotiating the boundary between...
A haunting and powerful novel from one of France’s most exciting and talented young writers.
With comic brilliance and a delight in the macabre, Michel Basilières holds a fun-house mirror up to a defining moment in Canadian history and reveals, among other things, a family having a very bad year. Holed up in a shambling house at the base of Mount Royal is the family Desouche: three generations of English- and French-Canadians caught in the gears of a national emergency. Their world is dark and hard, but alive with hope and expectation. When one of the eldest, an Anglo Montrealer, dies at the hand of one of the youngest, a militant separatist, so begins a year of turmoil and change that culminates in the October Crisis. Grave-robbing Grandfather consorts with prostitutes and mad sci...
First multi-year cumulation covers six years: 1965-70.
"One Country One Library (OCOL) is an idea to turn countries into open digital libraries via geographic coordinates and to measure the impact of reading materials in each country. The platform, available as a web and mobile application, houses all types of materials, including books, academic journals, general articles, short stories, and guides. It serves as a digital reading room, a self-publishing platform, a learning tool, an information kiosk for tourists, and a powerful new evaluator of the materials’ performance and reader activities. Publishers are paid a participation fee per country and supplied with detailed analytics showing each publication’s score and impact. This issue of ...
“One of the most exciting developments from the world of ideas in decades, presented with panache by two frighteningly brilliant, endearingly unpretentious, and endlessly creative young scientists.” – Steven Pinker, author of The Better Angels of Our Nature Our society has gone from writing snippets of information by hand to generating a vast flood of 1s and 0s that record almost every aspect of our lives: who we know, what we do, where we go, what we buy, and who we love. This year, the world will generate 5 zettabytes of data. (That’s a five with twenty-one zeros after it.) Big data is revolutionizing the sciences, transforming the humanities, and renegotiating the boundary between...
Jean Baptiste Simeon Chardin, the still-life artist of 18th-century France, was born in Paris in 1699. Having received no formal training, he rose to become one of the most highly-regarded painters of his lifetime, his work widely exhibited and sought by the rich and famous. His still-lifes, composed of simple elements, are exceptional in their depth of tone and striking in their directness. The genre scenes depict the domesticity of everyday bourgeois life, unsentimentalized and unidealized.
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.