A fantastically unique coloring book featuring a stunning array of otherworldly patterns, crystalline landscapes, and subtle organic elements. Visually engaging, yet relaxing to color, each book illustration is highly detailed and offers an abundance of both coloring and shading opportunities. Further, this book is printed on (high quality) thick paper stock, allowing the use of pens, pencils, or even watercolor brushes.

Censored Landscapes unveils the hidden reality of farming animals, offering a powerful and emotionally charged exploration. Photographs, essays, poetry, and research together tell a factual story about the most abusive industry of the twenty-first century. Isabella La Rocca González’s lens captures the haunting beauty of landscapes that portray the animal agricultural industry. A number displayed with each image represents the lives imprisoned within the facility, drawing attention to the magnitude of suffering behind the banal exteriors. Portraits of nonhuman animals who have been confined in such facilities are emblematic of the vast number of animals whose individuality, sentience, and beauty are obliterated by the industry. Censored Landscapes maintains a lyrical quality through evocative photographs, poetry, and personal narrative. The project also provides a robust basis in verifiable facts and scientific research. Readers are encouraged to confront the intricate web of connections between animal agriculture, animal suffering, environmental devastation, worker exploitation, human health, economic political structures, and social justice. This book is a call to action, a revelation of the invisible, and an opportunity to see, feel, and make a difference.

In Living Landscapes, Christopher Key Chapple looks at the world of ritual as enacted in three faiths of India. He begins with an exploration of the relationship between the body and the world as found in the cosmological cartography of Sāṃkhya philosophy, which highlights the interplay between consciousness (puruṣa) and activity (prakṛti), a process that gives rise to earth, water, fire, air, and space. He then turns to the progressive explication of these five great elements in Buddhism, Jainism, Advaita, Tantra, and Haṭha Yoga, and includes translations from the Vedas and the Purāṇas of Hinduism, the Buddhist and Jain Sūtras, and select animal fables from early Hinduism, Buddhism, and Jainism. Chapple also describes his own pilgrimages to the Great Stupa at Shambhala Mountain Center in Colorado, the five elemental temples (pañcamahābhūta mandir) in south India, and the Jaina cosmology complex in Hastinapur. An appendix with practical instructions that integrate Yoga postures with meditative reflections on the five elements is included.

There is no escaping landscape: it's everywhere and part of everyone's life. Landscapes have received much less attention in aesthetics than those arts we can choose to ignore, such as painting or music – but they can tell us a lot about the ethical and aesthetic values of the societies that produce them. Drawing on examples from a wide range of landscapes from around the world and throughout history, Susan Herrington considers the ways landscapes can affect our emotions, our imaginations, and our understanding of the passage of time. On Landscapes reveals the design work involved in even the most naturalistic of landscapes, and the ways in which contemporary landscapes are turning the challenges of the industrial past into opportunities for the future. Inviting us to thoughtfully see and experience the landscapes that we encounter in our daily lives, On Landscapes demonstrates that art is all around us.

A collection of previously unpublished short prose by one of the most influential figures of twentieth-century fiction. Little Snow Landscape opens in 1905 with an encomium to Robert Walser’s homeland and concludes in 1933 with a meditation on his childhood in Biel, the town of his birth, published in the last of his four years in the cantonal mental hospital in Waldau outside Bern. Between these two poles, the book maps Walser’s outer and inner wanderings in various narrative modes. Here you find him writing in the persona of a girl composing an essay on the seasons, of Don Juan at the moment he senses he’s outplayed his role, and of Turkey’s last sultan shortly after he’s deposed. In other stories, a man falls in love with the heroine of the penny dreadful he’s reading (and she with him?), and the lady of a house catches her servant spread out on the divan casually reading a classic. Three longer autobiographical stories—“Wenzel,” “Würzburg,” and “Louise”—brace the whole. In addition to a representative offering of Walser’s short prose, of which he was one of literature’s most original, multifarious, and lucid practitioners, Little Snow Landscape forms a kind of novel, however apparently plotless, from the vast unfinishable one he was constantly writing.

In 1994, workers broke ground on China’s Three Gorges Dam. By its completion in 2012, the dam had transformed the ecology of the Yangzi River, displaced over a million people, and forever altered a landscape immortalized in centuries of literature and art. The controversial history of the dam is well known; what this book uncovers are its unexpected connections to the cultural traditions it seems to sever. By reconsidering the dam in relation to the aesthetic history of the Three Gorges region over more than two millennia, Fixing Landscape offers radically new ways of thinking about cultural and spatial production in contemporary China. Corey Byrnes argues that this monumental feat of engineering can only be understood by confronting its status as a techno-poetic act, a form of landscaping indebted to both the technical knowledge of engineers and to the poetic legacies of the Gorges as cultural site. Synthesizing methods drawn from premodern, modern, and contemporary Chinese studies, as well as from critical geography, art history, and the environmental humanities, Byrnes offers innovative readings of eighth-century poetry, paintings from the twelfth through twenty-first centuries, contemporary film, nineteenth-century British travelogues, and Chinese and Western maps, among other sources. Fixing Landscape shows that premodern poetry and visual art have something urgent to tell us about a contemporary experiment in spatial production. Poems and paintings may not build dams, but Byrnes argues that the Three Gorges Dam would not exist as we know it without them.