Going beyond the 'blackness' of black art to examine the integrative and interdisciplinary practices of Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—five contemporary black artists in whose work race plays anything but a defining role. Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms. Refusing to grant racial blackness—his metaphorical "total darkness"—primacy over his subjects' other concerns and contexts, he brings to light problems and possibilities that arise when questions of artistic priority and freedom come into contact, or even conflict, with those of cultural obligation. English examines the integrative and interdisciplinary strategies of five contemporary artists—Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—stressing the ways in which this work at once reflects and alters our view of its informing context: the advent of postmodernity in late twentieth-century American art and culture. The necessity for "black art" comes both from antiblack racism and resistances to it, from both segregation and efforts to imagine an autonomous domain of black culture. Yet to judge by the work of many contemporary practitioners, English writes, black art is increasingly less able—and black artists less willing—to maintain its standing as a realm apart. Through close examinations of Walker's controversial silhouettes' insubordinate reply to pictorial tradition, Wilson's and Julien's distinct approaches to institutional critique, Ligon's text paintings' struggle with modernisms, and Pope.L's vexing performance interventions, English grounds his contention that to understand this work is to displace race from its central location in our interpretation and to grant right of way to the work's historical, cultural, and aesthetic specificity.

Total Darkness is a revealing look into the dark mentalism and séance mind of Mark Edward. A 233 page hardback book with an exclusively designed dust-jacket by artist Vincent Mattina. Featuring a foreword by Tony 'Doc' Shiels, 15 in-depth fully photo illustrated séance pieces concluding with six more effects in the first published release of The Keith Moon Séance.

Jorge's RX column - a monthly feature in High Times Magazine - solves growers' problems with definitive clarity. Here he compiles a selection of the best questions and answers from his column, offering illuminating insights into frequently-encountered - and intriguingly rare - dope growing difficulties.

To generate input data with a 50-foot resolution and fifteen shades of gray for advanced high-resolution digital radar simulators, this research examined and defined data sources and processing techniques. Limited to the Continental United States and to unclassified information, the data sources included all known aerial mapping imagery and topographic maps. All existing image processing techniques and devices were examined to define their operating principles. This review led to the conclusion that adequate geometric information for radar simulation data could be extracted from the current data sources and that existing processing capabilities could be combined into a feasible automatic system. In related work, non-parametric three-dimensional resections were calculated on a digital computer, and mathematical concepts were developed to give a computer system the capability of interpreting the physical characteristics in photos by using cues as done by a trained photo interpreter. (Author).

The United States' involvement in World War II began with the Japanese bombing of Pearl Harbor on December 7, 1941. But for Japan, the conflict began at a much earlier date. This book focuses on Japan and the events in its military history leading up to and including Pearl Harbor. Unique in its perspective, A Gathering Darkness shows how historical events in the 1920s and 1930s steered the country into war with America and its allies. A Gathering Darkness looks at what happened inside Japan in the 1920s to change its outlook on the West. There was a general repudiation of western values by Japanese society, and Japan turned its back on the outside world and an international order that were making life difficult for the country. The treaties made in Washington in the 1920s left Japan with a local supremacy that no other power, including Britain and the United States, could challenge on the account of their lack of forward bases and their commitments that precluded full deployment of forces in the western Pacific. A Gathering Darkness shows why Japan became increasingly militant in the 1930s. The authors look at Japanese military involvement in Manchuria beginning in September 1931. They cover the beginning of Japan's involvement in China in 1937, a conflict in which Japan would up in a deadlock with the China theater of operations in the period 1939–1941. The book then analyzes the first five months of the Pacific War, including the Pearl Harbor strike and the synchronization of offensive operations across more than four thousand miles of ocean. It also investigates the dilemma Japan faced as it realized in early 1942 that the United States was not going to collapse. A Gathering Darkness is the first volume in SR Books' trilogy on the Pacific War. This book offers a fascinating look at the prelude to the Pacific War and the early stages of the conflict that no one interested in World War II, military history, or Japanese history will want to miss.