The authors describe mostly in non-technical language the development of a new scientific paradigm based on nonlinear deterministic dynamics and fractal geometry. The concepts from these two mathematical disciplines are interwoven with data from the physical, social and life sciences. In this way rather sophisticated mathematical concepts are made accessible through experimental data from various disciplines, and the formalism is relegated to appendices. It is shown that the complexity of natural and social phenomena invariably lead to inverse power law distributions, both in terms of probabilities and spectra. This book tries to show how to think differently about familiar phenomena, such as why the bell-shape curve ought not to be used in teaching or in the characterization of such complex phenomena as intelligence.
The Big Bend is one of the last places left in America that's a long way from anywhere. Maybe that's why it draws such an eclectic range of people. Certainly it was Big Bend's unexplored remoteness that drew Bill Wright and three high school friends on an Easter break in 1950. Since that earliest visit, he has returned to Big Bend again and again, finding sustenance in its spare, desert landscapes and in friendships with the people who have found a home there. In this book, Wright combines deeply observed photographs with a beautifully written text to offer an intimate portrait of the people and the land of the Big Bend. Covering an almost-fifty-year span, his words and images capture both the timeless quality of the region and the changes that have followed in the wake of increasing tourism and human settlement. The heart of the book is Wright's portraits of the people who have added unique chapters to the Big Bend story. From artist Donald Judd, who found the perfect setting for his work in Marfa, to Terlingua and Lajitas residents who gladly forego urban amenities to the Mexican villagers who have offered him hospitality, Wright explores why so many people have developed an almost mythic attachment to the Big Bend.
Traylor's work is regarded among the major achievements of "outsider" art. He is represented in the permanent collections of MOMA, the MET, the Whitney, the Museum of American Folk Art, and the National Museum of American Art.
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