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The Guggenheim Mystery
My name is Ted Spark. I am 12 years and 281 days old. I have seven friends. Three months ago, I solved the mystery of how my cousin Salim disappeared from a pod on the London Eye. This is the story of my second mystery. This summer, I went on holiday to New York, to visit Aunt Gloria and Salim. While I was there, a painting was stolen from the Guggenheim Museum, where Aunt Gloria works. Everyone was very worried and upset. I did not see what the problem was. I do not see the point of paintings, even if they are worth £9.8 million. Perhaps that's because of my very unusual brain, which works on a different operating system to everyone else's. But then Aunt Gloria was blamed for the theft - and Aunt Gloria is family. And I realised just how important it was to find the painting, and discover who really had taken it.
Essentials of Pathophysiology
Porth Pathophysiology: understanding made easy, delivered however you need it. Porth's "Essentials of Pathophysiology" 3e delivers exceptional student understanding and comprehension of pathophysiology. An expanded, robust and flexible suite of supplements makes it easy for you to select the best course resources, so you can meet your students' changing needs. For both discrete and hybrid courses, the flexibility and power of Porth allows you to customize the amount of pathophysiology that you need for effective teaching and learning. Including a resource DVD with text!
The Little Friend
The sunlit rails gleamed like dark mercury, arteries branching out silver from the switch points; the old telegraph poles were shaggy with kudzu and Virginia creeper and, above them, rose the water tower, its surface all washed out by the sun. Harriet, cautiously, stepped towards it in the weedy clearing. Around and around it she walked, around the rusted metal legs. One day is never, ever discussed by the Cleve family. The day that nine-year-old Robin was found hanging by the neck from a tree in their front garden. Twelve years later the family are no nearer to uncovering the truth of what happened to him. Inspired by Houdini and Robert Louis Stevenson, twelve-year-old Harriet sets out to find her brother's murderer – and punish him. But what starts out as a child's game soon becomes a dangerous journey into the menacing underworld of a small Mississippi town.
An Introduction to Thermogeology
The use of the heat stored in the shallow subsurface for space heating (ground source heat) is widely used in North America and many European nations, such as Sweden, and is regarded as the most important and reliable 'green' space heating technology. In many nations, including Britain, the technology remains poorly understood and under used. This situation is about to change, however, with the UK market for ground source heat pumps growing at over 100% per annum. This book offers practical guidance and will equip engineers, planners and geologists with the fundamental skills to assess and implement this new technology and to introduce them to the science behind thermogeology.
Where No Car Has Gone Before
This unique story follows one man and his efforts to achieve the impossible dream--creating Sevenuvnine, the one and only Star Trek car.
Once Upon a Galaxy
Includes fifty folktales from around the world, relating them to contemporary fantasy, science fiction, and cartoon themes.
Moving Color
Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.
