"Putting a brush in the hands of new artists, young and old, heightens their awareness of the power and beauty of nature."

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

At a time when race and inequality dominate national debates, the story of West Charlotte High School illuminates the possibilities and challenges of using racial and economic desegregation to foster educational equality. West Charlotte opened in 1938 as a segregated school that embodied the aspirations of the growing African American population of Charlotte, North Carolina. In the 1970s, when Charlotte began court-ordered busing, black and white families made West Charlotte the celebrated flagship of the most integrated major school system in the nation. But as the twentieth century neared its close and a new court order eliminated race-based busing, Charlotte schools resegregated along lines of class as well as race. West Charlotte became the city's poorest, lowest-performing high school—a striking reminder of the people and places that Charlotte's rapid growth had left behind. While dedicated teachers continue to educate children, the school's challenges underscore the painful consequences of resegregation. Drawing on nearly two decades of interviews with students, educators, and alumni, Pamela Grundy uses the history of a community's beloved school to tell a broader American story of education, community, democracy, and race—all while raising questions about present-day strategies for school reform.

Over the past thirty years, visionary anthropologist Michael Taussig has crafted a highly distinctive body of work. Playful, enthralling, and whip-smart, his writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of color and the fascination they provoke, What Color Is the Sacred? is the next step on Taussig’s remarkable intellectual path. Following his interest in magic and surrealism, his earlier work on mimesis, and his recent discussion of heat, gold, and cocaine in My Cocaine Museum,this book uses color to explore further dimensions of what Taussig calls “the bodily unconscious” in an age of global warming. Drawing on classic ethnography as well as the work of Benjamin, Burroughs, and Proust, he takes up the notion that color invites the viewer into images and into the world. Yet, as Taussig makes clear, color has a history—a manifestly colonial history rooted in the West’s discomfort with color, especially bright color, and its associations with the so-called primitive. He begins by noting Goethe’s belief that Europeans are physically averse to vivid color while the uncivilized revel in it, which prompts Taussig to reconsider colonialism as a tension between chromophobes and chromophiliacs. And he ends with the strange story of coal, which, he argues, displaced colonial color by giving birth to synthetic colors, organic chemistry, and IG Farben, the giant chemical corporation behind the Third Reich. Nietzsche once wrote, “So far, all that has given colour to existence still lacks a history.” With What Color Is the Sacred? Taussig has taken up that challenge with all the radiant intelligence and inspiration we’ve come to expect from him.

Introduces various types of dinosaurs, demonstrating how to mix different colors to show what the dinosurs looked like.