During the past two centuries, crystallography, mineralogy and petrology have evolved from simple compilations of data to powerful disciplines based on interlocking networks of laws, hypotheses and rules-of-thumb. While many data still consist of isolated facts which defy synthesis, a gratifying portion can be organized according to physical and chemical principles. Unfortunately the separation of physical sciences into sub-divisions, especially at the teaching level, makes it difficult to integrate the different approaches to minerals. This separation is worsened by the increasing technical demands of chemical and physical theories, by the number and complexity of experimental methods, by the sheer mass of facts in an observational discipline such as mineralogy or petrology, and by the explosion of papers. This book concentrates on those aspects of the genesis and properties of feldspar minerals which can be related to physical and chemical principles. My main aim is frankly pedagogic: I wish to show how chemical and physical principles can be combined with geologic observation to produce an enhanced level of understanding of the genesis of minerals. The feldspars which demonstrate almost all of the general principles provide the most suitable example.

The idea of photography in Germany evokes everything from the pioneering modernist pictures of the Weimar era to the colossal digital prints that define art photography today. But it also recalls horrifying documents of wartime atrocities and the relentless surveillance of East German citizens. Photography and Germany broadens these perceptions by examining the medium’s multi-faceted relationship with Germany’s turbulent cultural, political, and social history while rethinking the notion of German photography with fresh insights on its historical context. Andrés Mario Zervigón covers this history from the region’s pre-photographic experiments with light-sensitive chemicals to today’s tension between analog and digital technologies. Rather than simply providing a survey of German photography, however, he focuses on how the medium, as a product of the modern age, has intervened in a fraught project of national imagining, often to productive ends but sometimes to catastrophic results. Richly illustrated with numerous previously unpublished images, Photography and Germany is the first single-authored history of photography in Germany ever published, one that deepens our broader understanding of how photography cultivates notions of a nation and its inhabitants.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ National Library of Scotland T167040 London: printed for M. Cooper, 1746. xviii,294p.; 8°

'Photography and Australia' focuses on those aspects of photographic practice that can be considered distinctively Australian. It argues that the colonial experience has been crucial in shaping photographers' concerns.