Saturday, August 30, 2014

PDF Ebook Animal Architects: Amazing Animals Who Build Their HomesBy Julio Antonio Blasco, Daniel Nassar

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Animal Architects: Amazing Animals Who Build Their HomesBy Julio Antonio Blasco, Daniel Nassar

A fantastic, original exploration of how animals build their homes and the fascinating structures they create. From gladiator frogs to chimpanzees, learn about how animals all over the world build their homes. Each spread contains a beautiful, colorful illustration of each animal and its home, plus a unique fold-out information panel, with stats and a simple architectural diagram showcasing the creation of the 'architect'. Look inside chimpanzee nests, beaver dams, termite mounds, stork nests and many more - and get to know the clever animals who build them!

  • Sales Rank: #663423 in Books
  • Published on: 2015-07-28
  • Released on: 2015-07-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.75" h x .63" w x 9.75" l, 1.10 pounds
  • Binding: Hardcover
  • 32 pages

About the Author
Julio Antonio Blasco is an illustrator, painter and designer who has previously published three other books for children. His book Sofia o el Pendolaje won four awards. His latest book, La Ladrona de Sellos, is to be published shortly by Edelvives.

Daniel Nassar taught Architectural Design and Construction at the University of Chile and now runs his own architecture company in Barcelona. He has a PhD in Architectural Design. He has always been very interested in animal constructions as a source of inspiration for human architecture.

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Friday, August 15, 2014

Free PDF Impossible Desires: Queer Diasporas and South Asian Public Cultures (Perverse Modernities: A Series Edited

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Impossible Desires: Queer Diasporas and South Asian Public Cultures (Perverse Modernities: A Series Edited

By bringing queer theory to bear on ideas of diaspora, Gayatri Gopinath produces both a more compelling queer theory and a more nuanced understanding of diaspora. Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive.

Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

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Tuesday, August 5, 2014

PDF Ebook Mygale (City Lights Noir)By Thierry Jonquet

PDF Ebook Mygale (City Lights Noir)By Thierry Jonquet

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Mygale (City Lights Noir)By Thierry Jonquet

Mygale [MIG-uh-lee] n.: a genus of large tropical spiders. . . .

Richard Lafargue, a well-known plastic surgeon, pursues and captures Vincent Moreau, who raped Lafargue’s daughter and left her hopelessly mad in an asylum. Lafargue is determined to exact an atrocious vengeance, and an ambiguous, even sadomasochistic relationship develops between self-appointed executioner and victim.

"Great art in nightmarish darkness."—Michel Lebrun

Thierry Jonquet (b. 1954, Paris) is an exponent of the hardboiled style of French noir that is inflected by post–May 1968 politics and social critique. His crime novels and children’s books have garnered many literary prizes.

  • Sales Rank: #957740 in Books
  • Model: 1045373
  • Published on: 2003-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.30" h x .30" w x 5.00" l, .28 pounds
  • Binding: Paperback
  • 120 pages
Features
  • ISBN13: 9780872864092
  • Condition: USED - Like New
  • Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
" 'Ingenious,' 'elegant,' 'sinister' -- these are also adjectives that approximate, but fall short of, the narrative power of 'Mygale.' -- The Washington Post Book World, January 19, 2003

"...Jonquet's prose is rough hewn, the panache is all in 'Mygale's' bizarre setup, gruesome scenarios and gender bending ending." -- St. Petersberg Times, Jan 12, 2003

Watch your skin crawl with this slim French tickler... -- –East Bay Express, July 30, 2003

Language Notes
Text: English (translation)
Original Language: French

About the Author
Thierry Jonquet (b. 1954, Paris ) Jonquet is an exponent of the hardboiled style of French noir that is inflected by post-May 1968 politics and social critique. His main source of inspiration is the daily newspaper, a trove of anecdotal evidence of, in his words, "the barbarity of the world we live in." But his writing is not so much politically engage as cathartic. Jonquet’s crime novels and children's books have garnered many literary prizes.

Translator bio:

Donald Nicholson-Smith has translated many works of fiction and nonfiction from the French, including The Society of the Spectacle by Guy Debord, The Production of Space by Henri Lefebvre, The Revolution of Everyday Life by Raoul Vaneigem, and Three to Kill by Jean-Patrick Manchette.

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Sunday, August 3, 2014

Free PDF Spaceman: An Astronaut's Unlikely Journey to Unlock the Secrets of the UniverseBy Mike Massimino

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Spaceman: An Astronaut's Unlikely Journey to Unlock the Secrets of the UniverseBy Mike Massimino


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Spaceman: An Astronaut's Unlikely Journey to Unlock the Secrets of the UniverseBy Mike Massimino

HAVE YOU EVER WONDERED what it would be like to find yourself strapped to a giant rocket that’s about to go from zero to 17,500 miles per hour? Or to look back on Earth from outer space and see the surprisingly precise line between day and night? Or to stand in front of the Hubble Space Telescope, wondering if the emergency repair you’re about to make will inadvertently ruin humankind’s chance to unlock the universe’s secrets? Mike Massimino has been there, and in Spaceman he puts you inside the suit, with all the zip and buoyancy of life in microgravity.
Massimino’s childhood space dreams were born the day Neil Armstrong set foot on the moon. Growing up in a working-class Long Island family, he catapulted himself to Columbia and then MIT, only to flunk his first doctoral exam and be rejected three times by NASA before making it through the final round of astronaut selection.
Taking us through the surreal wonder and beauty of his first spacewalk, the tragedy of losing friends in the Columbia shuttle accident, and the development of his enduring love for the Hubble Telescope—which he and his fellow astronauts were tasked with saving on his final mission—Massimino has written an ode to never giving up and the power of teamwork to make anything possible. Spaceman invites us into a rare, wonderful world where science meets the most thrilling adventure, revealing just what having “the right stuff” really means.

  • Sales Rank: #4842 in Books
  • Published on: 2016-10-04
  • Released on: 2016-10-04
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.40" h x 1.00" w x 6.40" l, 1.25 pounds
  • Binding: Hardcover
  • 336 pages

Review
“Every generation of astronauts needs a storyteller -- a person with wit, humor, and passion who has lived our collective dreams of space exploration and returned to tell us all about it. Mike Massimino is that person. He's that astronaut. And this is his story.”—Neil deGrasse Tyson
 
“Mike Massimino writes about space with an astronaut's eye and an engineer's precision. You'll be impressed with his journey and his perspective on where a well-developed space program can take us in the future.”—Senator John Glenn
 
“Inspired by moonwalkers, Mike grew up, became an astronaut, and fixed the Hubble Space Telescope, all while remaining some kinda’ humble. You can’t help but follow him from Long Island to the bottom of the spacewalk practice pool, then 350 miles up and back. He’s a spaceman through and through; he tells how hard work can take you out of this world.”—Bill Nye, the Science Guy, CEO of the Planetary Society
 
“Massimino's incredible journeys, filled with grit, courage, suspense and thrills, are told with such candor and delight, that for a brief moment I felt I’d finally made it to space too. Read this book and be inspired to reach for the impossible.” —Brian Greene, Columbia University, author of The Fabric of the Cosmos

"An engaging and uplifting memoir that's sure to give readers a deeper appreciation for the U.S. space program and inspire some future astronauts." —Publishers Weekly

About the Author
Mike Massimino served as a NASA Astronaut from 1996 until 2014 and flew in space twice: STS-109 on space shuttle Columbia in March 2002 and STS-125 on space shuttle Atlantis in May 2009 – the final two Hubble Space Telescope servicing missions.  Mike became the first human to tweet from space, was the last human to work inside of Hubble, and set a team record with his crewmates for the most cumulative spacewalking time in a single space shuttle mission.  Mike has a recurring role as himself on The Big Bang Theory; appears regularly on late night talk shows, news programs, and documentaries; and is a much sought after inspirational speaker.  He received his BS from the Columbia University School of Engineering, and his two MS’s and Ph.D. from the Massachusetts Institute of Technology (MIT).  He currently lives in New York City where he is an engineering professor at Columbia and an advisor at the Intrepid Sea, Air, and Space Museum.

Excerpt. © Reprinted by permission. All rights reserved.
P R O L O G U E
 
 
A Science Fiction Monster
 
            On March 1, 2002, I left Earth for the first time. I got on board the space shuttle Columbia and I blasted 350 miles into orbit. It was a big day, a day I’d been dreaming about since I was seven years old, a day I’d been training for nonstop since NASA had accepted me into the astronaut program six years earlier. But even with all that waiting and planning, I still wasn’t ready. Nothing you do on this planet can ever truly prepare you for what it means to leave it.
            Our flight, STS-109, was a servicing mission for the Hubble Space Telescope. We were a crew of seven, five veterans and two rookies, me and my buddy Duane Carey, an Air Force guy. We called him Digger. Every astronaut gets an astronaut nickname. Because of my name and because I’m six feet three inches, everybody called me Mass.
            Ours was going to be a night launch. At three in the morning, we walked out of crew quarters at Kennedy Space Center to where the astro van was waiting to take us out to the launchpad. This was only the second shuttle mission since the terrorist attacks of 9/11,and there were helicopters circling overhead and a team of SWAT guys standing guard with the biggest assault rifles I’d ever seen. Launches had always had tight security, but now it was even more so. Digger was standing right next to me. “Wow,” he said, “look at the security. Maybe it’s a 9/11 thing.”
            I said, “I don’t know. I think they’re here to make sure we actually get on.”
            I was starting to get nervous. What had I signed up for? I could swear that one of the SWAT guys was staring at me—not at potential terrorists, but right at me. It felt like his eyes were saying, Don’t even think about running for it, buddy. It’s too late now. You volunteered for this. Now get on my bus.
            We got on and rode out to the launchpad, everything pitch-black all around us. The only light on the horizon was the shuttle itself, which got bigger and bigger as we approached, the orbiter and the two solid rocket boosters on each side of that massive rust-orange fuel tank, the whole thing lit up from below with floodlights.
            The driver pulled up to the launchpad, let us out, then turned and high-tailed it out of the blast zone. The seven of us stood there, craning our necks, looking up at this gigantic spaceship towering seventeen stories high above the mobile launcher platform. I’d been out to the shuttle plenty of times for training, running drills. But the times I’d been near it, there was never any gas in the tank, the liquid oxygen and liquid hydrogen that make rocket fuel. They don’t put it in until the night before, because once you add rocket fuel it turns into a bomb.
The shuttle was making these ungodly sounds. I could hear the fuel pumps working, steam hissing, metal groaning and twisting under the extreme cold of the fuel, which is hundreds of degrees below zero. Rocket fuel burns off at very low temperatures, sending huge billows of smoke pouring out. Standing there, looking up, I could feel the power of this thing. It looked like a beast waiting there for us.
            The full realization of what we were about to do was starting to dawn on me. The veterans, the guys who’d flown before, they were in front of me, high-fiving each other, getting excited. I stared at them like Are they insane? Don’t they see we’re about to strap ourselves to a bomb that’s going to blow us hundreds of miles into the sky?
            I need to talk to Digger, I thought. Digger’s a rookie like me, but he flew F‑16 fighter jets in the Gulf War. He’s not afraid of anything. He’ll make me feel better. I turned to him, and he was staring up at this thing with his jaw hanging down, his eyes wide open. It was like he was in a trance. He looked the way I felt. I said, “Digger.”
            No response. “Digger!” No response. “Digger!”
            He shook himself out of it. Then he turned to me. He was white as a ghost.
            People always ask me if I was ever scared going into space. At that moment, yes, I was scared. Up to that point I’d been too excited and too busy training to let myself get scared, but out there at the launchpad it hit me: Maybe this wasn’t such a good idea. This was really dumb. Why did I do this? But at that point there was no turning back.
            When you’re getting ready to launch, you have this big rush of adrenaline, but at the same time the whole process is drawn out and tedious. From the bottom of the launch tower, you take an elevator up to the launch platform at ninety feet. You make one last pit stop at a bathroom up there—the Last Toilet on Earth, they call it—and then you wait. One at a time, the ground crew takes each astronaut across the orbiter access arm, the gangway between the tower and the shuttle itself. You can be out on the platform for a while, waiting for your turn. Finally they come and get you, taking you across the arm into a small white room where they help you put on your parachute harness. Then you wave good-bye to your family on the closed-circuit camera and go in through the shuttle hatch. You enter on the mid-deck, where the crew’s living quarters are. Up a small ladder is the flight deck. Neither is very big; it’s pretty cozy inside the shuttle. Four astronauts, including the pilot and commander, sit on the flight deck for launch. They get windows. The remaining three sit on the mid-deck.
            Once you’re inside, the ground crew straps you in. They help you affix your helmet to your orange launch and entry suit. You check your oxygen, check your gear. Then you lie there. If you’re on the mid-deck like I was there aren’t any windows, so there’s nothing to look at but a wall of lockers. You’re there for a few hours waiting for everything to check out. You chat with your crewmates and you wait. Maybe play a game of tic-tac-toe on your kneeboard. You’re thinking that you’re going to launch, but you can’t be sure. NASA’s Launch Control Center will cancel a flight right up to the last minute because of bad weather or anything questionable with the spaceship, so you never really know until liftoff. Once it’s down to about an hour, you glance around at your buddies like, Okay, looks like this might actually happen. Then it gets down to thirty minutes. Then ten minutes. Then one minute. Then it gets serious. With a few seconds left, the auxiliary power units start. The beast that terrified you out on the launchpad? Now that beast is waking up. At six seconds you feel the rumble of the main engines lighting. The whole stack lurches forward for a moment. Then at zero it tilts back upright again and that’s when the solid rocket boosters light and that’s when you go. There’s no question that you’re moving. It’s not like Oh, did we leave yet? No. It’s bang! and you’re gone. You’re going 100 miles an hour before you clear the tower. You accelerate from 0 to 17,500 miles an hour in eight and a half minutes.
            It was unreal. I felt like some giant science fiction monster had reached down and grabbed me by the chest and was hurling me up and up and there was nothing I could do about it. Right after we launched, I realized that all the training we’d had on what to do if something went wrong during launch—how to bail out, how to operate the parachutes, how to make an emergency landing—I realized that all those years of training were completely pointless. It was just filler to make us feel okay about climbing into this thing. Because if it’s going down, it’s going down. It’s either going to be a good day or it’s going to be a bad day, and there is no in-between. There are emergency placards and safety signs all over the interior of the shuttle, telling you what to do and where to go. That stuff is there to give you something to read before you die.
            After about a minute, once the initial shock passed, this feeling came over me. I had a sensation of leaving. Like, really leaving. Not just good-bye but adios. I’d been away from home before, on vacations and road trips, flying out to California, going camping in East Texas. But this time, my home, this safe haven I’d known my whole life, I was leaving it behind in a way that I never had before. That’s what it felt like: truly leaving home for the first time.
            It takes eight and a half minutes to make it into orbit. Eight and a half minutes is a long time to sit and wonder if today is going to be the day you get it. You can’t say much because your mic is live and you don’t want to get on the command say anything stupid that might distract people. It’s not the time to try to be clever. You just keep lying there, looking at your buddies, listening to the deafening roar of the engines, feeling the shuttle shake and shudder as it fights to break out of the Earth’s atmosphere. You get up to three g’s for about two and a half minutes at the end and you feel like you weigh three times your body weight. It’s like you have a pile of bricks on your chest. The whole thing can be summed up as controlled violence, the greatest display of power and speed ever created by humans.
            As you’re leaving the Earth’s atmosphere, the bolts holding you to the fuel tank blow. You hear these two muffled explosions through the walls of the shuttle—fump! fump! —and then the fuel tank is gone and the engines cut and the whole thing is over as abruptly as it began. The roar stops, the shuddering stops, and it’s dead quiet. All you hear are the cooling fans from some of the equipment gently whirring in the background. Everything around you is eerily, perfectly still.
You’re in space.
            Once the engines cut and you’re in orbit, the shuttle’s no longer accelerating. Your perception is that you’ve come to a complete stop. You’re moving at 17,500 miles per hour, but your inner ear is telling your brain that you’re perfectly still; your vestibular system works on gravity, and without any gravity signals coming in, the system thinks you’re not moving. So you have this sensation like you’re lurching forward but then you come to a stop when the engines cut. You feel like you’re sitting straight up in a dining room chair, except that you’re still strapped down flat on your back. It’s completely disorienting.
            The first thing I did was ask myself, Am I still alive? It took me a moment to answer. Yes, I’m still alive. We’d made it, safely. It took me a minute or two to get my bearings. Then, once I felt acclimated, it was time to go to work. I reached up and took my helmet off and—just like I’d watched Tom Hanks do in Apollo 13—I held it out and let it go and floated it in the air in front of me, weightless.

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