Text by Deyan Sudjic. Contributions by David Chipperfield.

What is form? Why does form matter? In this imaginative and ambitious study, Angela Leighton assesses not only the legacy of Victorian aestheticism, and its richly resourceful keyword, 'form', but also the very nature of the literary. She shows how writers, for two centuries and more, have returned to the idea of form as something which contains the secret of art itself. She tracks the development of the word from the Romantics to contemporary poets, and offers close readings of, among others, Tennyson, Pater, Woolf, Yeats, Stevens, and Plath, to show how form has provided the single most important way of accounting for the movements of literary language itself. She investigates, for instance, the old debate of form and content, of form as music or sound-shape, as the ghostly dynamic and dynamics of a text, as well as its long association with the aestheticist principle of being 'for nothing'. In a wide-ranging and inventive argument, she suggests that form is the key to the pleasure of the literary text, and that that pleasure is part of what literary criticism itself needs to answer and convey.

Bringing together texts and work by theorists and practitioners who are making material central to their work, this book reflects the diverse areas of inquiry which are expanding current material discourse. Focusing on the cultural, political, economic, technological and intellectual forces which shape material practices in architecture, the contributors draw on disciplines ranging from philosophy, history and pedagogy to art practice and digital and low-tech fabrication. By paying critical attention to material, a wide range of issues emerge which are otherwise excluded from architectural discourse, issues that shape and determine the buildings we make, the processes we use and the ways we understand them. Beautifully illustrated and designed, this book is a unique collection which will be of great interest to architectural practitioners and theorists who want to consider the wider implications of material practice, and to students who are developing their own approach to making buildings.

The Model Rules of Professional Conduct provides an up-to-date resource for information on legal ethics. Federal, state and local courts in all jurisdictions look to the Rules for guidance in solving lawyer malpractice cases, disciplinary actions, disqualification issues, sanctions questions and much more. In this volume, black-letter Rules of Professional Conduct are followed by numbered Comments that explain each Rule's purpose and provide suggestions for its practical application. The Rules will help you identify proper conduct in a variety of given situations, review those instances where discretionary action is possible, and define the nature of the relationship between you and your clients, colleagues and the courts.

This two-volume set, Poesy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, Poesy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix's 1989 work The Yellow Book. The first comprehensive publication of Hennix's written work, Poesy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuition mathematics, poetry, and prose as well. The texts in Poesy Matters and Other Matters reflect Hennix's diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde's most implacable, not to mention overlooked, creative minds.

This Book tells an exciting, and intriguing story of my training, experiences, and relationships, as a U S Army Ranger in the Vietnam War during 1969 to 1971 while performing recon-missions Behind Enemy Lines. The story takes you on a journey from the physical war in Vietnam to the spiritual warfare that goes on daily for your soul. The spiritual uplifting message within its pages ignites your faith into a blazing fire. You come alive. To survive in Vietnam and come home alive required elite training, strong belief in our training, mental and physical repetition of the training, and real true relationships. If we got distracted, failed to pay attention, disobeyed, ignored, or forgot what we were there to do; our percentage of surviving was greatly reduce. There were many things to distract us. Our minds and bodies got hooked up to drugs, alcohol, sex, and the thrill of living on the edge. These are but a few of the distractions available to us, before we even went on a mission to face what our enemies had for us, or the snakes, diseases, and animals of the jungle. This book tells a very interesting and intriguing story of my experiences and relationships performing reconnaissance missions Behind Enemy Lines in the mountainous jungle region of South Vietnam and near the Cambodian border. When I arrived, in Vietnam the first thing I needed to do was de-program myself of most of the training I had received from the Army while being trained in the Sates, prior to arriving in Vietnam. For example; I had been taught to always ambush from the high ground; that high ground determined the actual site selection for an ambush. It sounded good and worked in World War II and Korea, but this was guerilla warfare. My mentor, Tad taught us first to monitor a trail by observing how the enemy was traveling on the trail and when we had determined the direction of travel, then always set our ambush on the right hand side of the trail according to the enemy's route of March, regardless of the height of the terrain. The reason is that most people, over 90 %, are right handed and the enemy's weapons would be pointed away from you as you set off the ambush. After a few hours, any soldier running missions in the hot jungles of Southeast Asia would have their attention span, focus, alertness, and weapons positions drop off measurably, especially while they traveled through what they perceived as their own safe territory. When you ambush to the right of the trail, five Rangers would fire a full 20 round magazine from an M-16 rifle in 2.3 seconds. That's 100 bullets into a kill zone while the enemy freezes up for a second in shock from all the firing. Once they realize what is happening, they fall to the ground turning their weapons from the left to the right and try to locate where the firing is coming from. That just took 2.8 seconds and our hands are on the detonators of five claymore mines. Each mine has hundreds of shrapnel like bee bees packed into them and about a pound of C-4 explosive. The enemy's rifle hasn't even gotten to their shoulder yet to fire before we detonate the claymore mines, if needed, and the enemy; well that's why it's called an ambush. The sixth person, a Ranger radio operator, was behind us guarding our back with the radio and already our choppers and support were coming. This story takes you from physical warfare to Spiritual warfare in such a way that your faith will be renewed. My prayer is that it sheds light on the battle between good (God) and evil (Satan) that goes on daily for our souls. Sit back and enjoy this short, powerful story. This books mission is; when you reach the end of this book you will have an understanding of why Jesus did what He did and why you need a relationship with Him. He loves you and wants to have a relationship with you, one that will change you from who you are, to a brand new person. You are the Soul, purpose of this book. Author Danny Clifford

Deleuze’s and Guattari’s philosophy in the field of artistic research Gilles Deleuze’s intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze’s subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze’s concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama on the intersection between music, art, philosophy, and scholarship. The forty-eight chapters in this publication present a kaleidoscopic view of different fields of knowledge and artistic practices, exposing for the first time the diversity and richness of a world situated between artistic research and the philosophy of Gilles Deleuze and Félix Guattari. Within different understandings of artistic research, the authors—composers, architects, performers, philosophers, sculptors, film-makers, painters, writers, and activists—map practices and invent concepts, contributing to a creative expansion of horizons, materials, and methodologies. Contributors VOLUME 1: Paulo de Assis, Arno Böhler, Edward Campbell, Diego Castro-Magas, Pascale Criton, Zornitsa Dimitrova, Lois Fitch, Mike Fletcher, Paolo Galli, Lindsay Gianoukas, Keir GoGwilt, Oleg Lebedev, Jimmie LeBlanc, Nicolas Marty, Frédéric Mathevet, Vincent Meelberg, Catarina Pombo Nabais, Tero Nauha, Gabriel Paiuk, Martin Scherzinger, Einar Torfi Einarsson, Steve Tromans, Toshiya Ueno, Susanne Valerie, Audronė Žukauskaitė VOLUME 2: Éric Alliez, Manola Antonioli, Jūratė Baranova, Zsuzsa Baross, Anna Barseghian, Ian Buchanan, Elena del Río, Luis de Miranda, Lucia D’Errico, Lilija Duoblienė, Adreis Echzehn, Jae Emerling, Verina Gfader, Ronny Hardliz, Rahma Khazam, Stefan Kristensen, Erin Manning, John Miers, Elfie Miklautz, Marc Ngui, Andreia Oliveira, Federica Pallaver, Andrej Radman, Felix Rebolledo, Anne Sauvagnargues, Janae Sholtz, Mhairi Vari, Mick Wilson, Elisabet Yanagisawa