The powerful work of queer Chicano artists in Los Angeles is explored in this exciting and thoughtful book. Working between the 1960s and early 1990s, the artists profiled in this compendium represent a broad cross section of L.A.'s art scene. With nearly 400 illustrations and ten essays, this volume presents histories of artistic experimentation and reveals networks of collaboration and exchange that resulted in some of the most intriguing art of late 20th-century America. From "mail art" to the rise of Chicano, gay, and feminist print media; the formation of alternative spaces to punk music and performance; fashion culture to the AIDS crisis—the artists and works featured here comprise a boundary-pushing network of voices and talents.

Can economics be passionate? Can it center on people and what really matters to them day-in and day-out. And help us understand their hidden motives for why they do what they do in everyday life? Uri Gneezy and John List are revolutionaries. Their ideas and methods for revealing what really works in addressing big social, business, and economic problems gives us new understanding of the motives underlying human behavior. We can then structure incentives that can get people to move mountains, change their behavior -- or at least get a better deal. But finding the right incentive can be like looking for a needle in a haystack. Gneezy and List's pioneering approach is to embed themselves in the factories, schools, communities, and offices where people work, live, and play. Then, through large-scale field experiments conducted "in the wild," Gneezy and List observe people in their natural environments without them being aware that they are observed. Their randomized experiments have revealed ways to close the gap between rich and poor students; to stop the violence plaguing inner-city schools; to decipher whether women are really less competitive than men; to correctly price products and services; and to discover the real reasons why people discriminate. To get the answers, Gneezy and List boarded planes, helicopters, trains, and automobiles to embark on journeys from the foothills of Kilimanjaro to California wineries; from sultry northern India to the chilly streets of Chicago; from the playgrounds of schools in Israel to the boardrooms of some of the world's largest corporations. In The Why Axis, they take us along for the ride, and through engaging and colorful stories, present lessons with big payoffs. Their revelatory, startling, and urgent discoveries about how incentives really work are both revolutionary and immensely practical. This research will change both the way we think about and take action on big and little problems. Instead of relying on assumptions, we can find out, through evidence, what really works. Anyone working in business, politics, education, or philanthropy can use the approach Gneezy and List describe in The Why Axis to reach a deeper, nuanced understanding of human behavior, and a better understanding of what motivates people and why.

In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects—shame, disgust, and unbelonging—to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

The authors have presented and interpreted Johannes Kepler's Latin text to English readers by putting it into the kind of clear but earnest language they suppose Kepler would have used if he had been writing today.

Cruising the Archive: Queer Art and Culture in Los Angeles, 1945-1980 explores the rich history of queer art, activism and culture in Los Angeles through artworks, documents, and archival items culled entirely from the collections at ONE National Gay & Lesbian Archives, the largest LGBTQ archive in the United States. Cruising the Archive includes essays by Ann Cvetkovich, Vaginal Davis, Jennifer Doyle, Judith "Jack" Halberstam, Catherine Lord, Richard Meyer, Ulrike Muller, and Dean Spade that examine various topics related to queer art, aesthetics, politics, and the archive. This publication also includes information on artworks and archival materials from ONE Archives, reprints from early queer publications from Los Angeles including ONE Magazine, an introduction by the exhibition's co-curators David Frantz and Mia Locks, and a map of historical sites referenced in the publication compiled by Zemula Barr. Artist Onya Hogan-Finlay has produced a limited edition poster that functions as a book jacket, featuring a photograph of friends of ONE Archives.

Galileo’s Dialogue Concerning the Two Chief World Systems, published in Florence in 1632, was the most proximate cause of his being brought to trial before the Inquisition. Using the dialogue form, a genre common in classical philosophical works, Galileo masterfully demonstrates the truth of the Copernican system over the Ptolemaic one, proving, for the first time, that the earth revolves around the sun. Its influence is incalculable. The Dialogue is not only one of the most important scientific treatises ever written, but a work of supreme clarity and accessibility, remaining as readable now as when it was first published. This edition uses the definitive text established by the University of California Press, in Stillman Drake’s translation, and includes a Foreword by Albert Einstein and a new Introduction by J. L. Heilbron.

Sexy, outspoken, and explosive, the terrorist of Soto’s debut collection resists police violence with linguistic verve and radical honesty. This debut poetry collection demands the abolition of policing and human caging. In Diaries of a Terrorist, Christopher Soto uses the “we” pronoun to emphasize that police violence happens not only to individuals, but to whole communities. His poetics open the imagination towards possibilities of existence beyond the status quo. Soto asks, “Who do we call terrorist, & why”? These political surrealist poems shift between gut-wrenching vulnerability, laugh-aloud humor, and unapologetic queer punk raunchiness. Diaries of a Terrorist is groundbreaking in its ability to speak—from a local to a global scale—about one of the most important issues of our time.