Eric White's hyper-intensive, distortedly lucid paintings explore the shifting boundaries between beauty and horror. Developing out of the artist's fascination with the illusory properties and constructions of film, the paintings examine the varying layers of human perception by manipulating planes of focus and the reliability of form and colour. With work from four different galleries, this is a comprehensive collection of Eric White's career as a painter.
The book Then What? will take us on a series of questions and ways on how we think as individuals with our hearts. While taking that journey down integrity lane, the honesty that we portray will also give us a chance to take a good look at ourselves. It doesnt try and point out whether we are bad people or not. It only points to some of the ways that we may have some questions and answers resolved.
*Adheres closely to original style/approach that made this book a best-seller in its previous incarnation *Functions as a practical guide for a business audience *Case-study contains the fully working source code to a real commercial product
NOW A NEW YORK TIMES, PUBLISHER'S WEEKLY, INDIEBOUND, LOS ANGELES TIMES, WASHINGTON POST, CHRONICLE HERALD, SALISBURY POST, GUELPH MERCURY TRIBUNE, AND BOSTON GLOBE BESTSELLER | NAMED A BEST/MOST ANTICIPATED BOOK OF 2017 BY: The Washington Post • Bustle • Men's Journal • The Chicago Reader • StarTribune • Blavity• The Guardian • NBC New York's Bill's Books • Kirkus • Essence “One of the most frank and searing discussions on race ... a deeply serious, urgent book, which should take its place in the tradition of Baldwin's The Fire Next Time and King's Why We Can't Wait." —The New York Times Book Review Toni Morrison hails Tears We Cannot Stop as "Elegantly written and powerful in several areas: moving personal recollections; profound cultural analysis; and guidance for moral redemption. A work to relish." Stephen King says: "Here’s a sermon that’s as fierce as it is lucid...If you’re black, you’ll feel a spark of recognition in every paragraph. If you’re white, Dyson tells you what you need to know—what this white man needed to know, at least. This is a major achievement. I read it and said amen." Short, emotional, literary, powerful—Tears We Cannot Stop is the book that all Americans who care about the current and long-burning crisis in race relations will want to read. As the country grapples with racist division at a level not seen since the 1960s, one man's voice soars above the rest with conviction and compassion. In his 2016 New York Times op-ed piece "Death in Black and White," Michael Eric Dyson moved a nation. Now he continues to speak out in Tears We Cannot Stop—a provocative and deeply personal call for change. Dyson argues that if we are to make real racial progress we must face difficult truths, including being honest about how black grievance has been ignored, dismissed, or discounted. "The time is at hand for reckoning with the past, recognizing the truth of the present, and moving together to redeem the nation for our future. If we don't act now, if you don't address race immediately, there very well may be no future.
“This ambitious and provocative work . . . delves into white anxiety about the demographic decline of white populations in Western nations” (Publishers Weekly). “Whiteshift” is defined as the turbulent journey from a world of racially homogeneous white majorities to one of racially hybrid majorities. In this dada-driven study, political scientist Eric Kaufmann explores how these demographic changes across Western societies are transforming their politics. The early stages of this transformation have led to a populist disruption, tearing a path through the usual politics of left and right. If we want to avoid more radical political divisions, Kaufmann argues, we have to enable white conservatives as well as cosmopolitans to view whiteshift as a positive development. Kaufmann examines the evidence to explore ethnic change in North American and Western Europe. Tracing four ways of dealing with this transformation—fight, repress, flight, and join—he makes a persuasive call to move beyond empty talk about national identity. Deeply thought provoking, enriched with illustrative stories, and drawing on detailed and extraordinary survey, demographic, and electoral data, Whiteshift will redefine the way we discuss race in the twenty-first century.
In Popular Culture in the Age of White Flight, Eric Avila offers a unique argument about the restructuring of urban space in the two decades following World War II and the role played by new suburban spaces in dramatically transforming the political culture of the United States. Avila's work helps us see how and why the postwar suburb produced the political culture of 'balanced budget conservatism' that is now the dominant force in politics, how the eclipse of the New Deal since the 1970s represents not only a change of views but also an alteration of spaces."—George Lipsitz, author of The Possessive Investment in Whiteness
What has it meant to be Jewish in a nation preoccupied with the categories of black and white? The Price of Whiteness documents the uneasy place Jews have held in America's racial culture since the late nineteenth century. The book traces Jews' often tumultuous encounter with race from the 1870s through World War II, when they became vested as part of America's white mainstream and abandoned the practice of describing themselves in racial terms. American Jewish history is often told as a story of quick and successful adaptation, but Goldstein demonstrates how the process of identifying as white Americans was an ambivalent one, filled with hard choices and conflicting emotions for Jewish immigrants and their children. Jews enjoyed a much greater level of social inclusion than African Americans, but their membership in white America was frequently made contingent on their conformity to prevailing racial mores and on the eradication of their perceived racial distinctiveness. While Jews consistently sought acceptance as whites, their tendency to express their own group bonds through the language of "race" led to deep misgivings about what was required of them. Today, despite the great success Jews enjoy in the United States, they still struggle with the constraints of America's black-white dichotomy. The Price of Whiteness concludes that while Jews' status as white has opened many doors for them, it has also placed limits on their ability to assert themselves as a group apart.
Centered on a veteran American face-jobber pulling one final con, "White Faced Lies" is a darkly comedic story that explores questions of race, systemic fraud and personal greed in the post-truth world.
Provides an alternative account of the modernist transatlanticTransatlantic Avant-Gardes offers a revisionary account of the evolution of twentieth-century modernism. Complimenting recent studies of modernist expatriates, Eric White explores new points of contact between European and American avant-gardes to place 'located' figures such as William Carlos Williams, Marianne Moore, Wallace Stevens, Jean Toomer, and Alfred Kreymborg back into the 'global design' of literary modernism. Focusing on artist-run 'little magazines' (including Others, Contact, The Little Review, Blast, The Dial, Fire!!, and Pagany) and selected fine press publications and mainstream periodicals, White also reconsiders the boundaries that traditionally divide modernist literature into 'exile' and 'localist', or 'regionalist' and 'cosmopolitan', factions. Thus, the book proposes a version of localist modernism that prioritises issues of geographic and textual 'location' to deliver a 'networked' approach to American modernism in the transatlantic context. Combining literary-historical, textual, and cultural criticism, Transatlantic Avant-Gardes provides a new reading of the specialised literary networks that interrogated the relationship between geographic place, textual space and national identity in the modernist transatlantic.
Introducing The Color Factory and The Black and White Factory Two-In-One, an interactive and entertaining two-in-one picture book in the vein of Hervé Tullet's Press Here and Mix It Up! Welcome to the Color Factory! Penguin, zebra, and panda want to show you all the wonderful, factory-approved colors that are made here, like Robin's Egg Blue, Canary Yellow, Chocolate Brown, and Fire Engine Red. But when the tour reaches the perfect replicator machine, the factory workers mix Canary Yellow and Fire Engine Red, creating a new color! Quickly, get the non-factory-approved colors off the page! Otherwise, the factory must be closed. Can penguin, zebra, and panda come together to approve the new colors (which are fluorescent!)? Flip the book over for another adventure! Welcome to the Black and White Factory! Penguin, zebra, and panda are back, and they would like to take you on a top-secret tour to see some black and white products that are made here, like salt and pepper shakers, dice, half decks of playing cards (only spades and clubs!), chess pieces, and tuxedos, in addition to a few special experimental projects. But, oh no, some color has seeped into the bar code room! It's up to the reader to try and rub it off, tilt the book so that it slides off, and blow into the nozzle to power a cleaning machine! Can you sort out this mess before color explodes all over the factory?
A revisionist account of technology's role in the aesthetics, spaces and politics of transatlantic avant-gardesExplores of a range of key avant-garde formations in the modernist transatlantic period, from the Italian futurists and English Vorticists to the Dada-surrealist and post-Harlem Renaissance African American experimentalistsExplores writers' and artists' inventions as well as their texts, and involves them directly in the messy transductions of technology in cultureDraws on previously unknown photos, manuscripts and other evidence that reveals the untold story of Bob and Rose Brown's 'reading machine' - a cross-disciplinary, meta-formational, and transnational project that proposed to transform the everyday act of readingReading Machines in the Modernist Transatlantic provides a new account of aesthetic and technological innovation, from the Machine Age to the Information Age. Drawing on a wealth of archival discoveries, it argues that modernist avant-gardes used technology not only as a means of analysing culture, but as a way of feeding back into it. As well as uncovering a new invention by Mina Loy, the untold story of Bob Brown's 'reading machine' and the radical technicities of African American experimentalists including Gwendolyn Bennett and Ralph Ellison, the book places avant-gardes at the centre of innovation across a variety of fields. From dazzle camouflage to microfilm, and from rail networks to broadcast systems, White explores how vanguardists harnessed socio-technics to provoke social change.
On January 20th, 2009, the United States entered a new era in terms of race relations in the country. The hopes of many Americans were not to be fulfilled and many believe race relations are worse now. The reason is the legacy of race is integral to the American nation. The Religion of White Supremacy in the United States traces this legacy to show how race is defined by more than beliefs or acts of injustice. What this book reveals is that white supremacy is a religion in the United States. This book is a theo-historical account of race in the United States that argues that white supremacy functions through the Protestant Christian tradition. The Religion of White Supremacy in the United States is an interdisciplinary work of Critical Whiteness Studies, American History, and Theology to build a narrative in which the religion of white supremacy dominates U.S. culture and society. In this way, the racial tensions during the Obama era become sensible and inevitable in a nation that finds ultimacy in white supremacy.
This final report was prepared by Bruno Losch, Sandrine Fraeguin-Gresh and Eric White (World Bank), with contributions of Thierry Giordano and Jean-Franocois Baeliaeres (Cirad). It was peer-reviewed by Derek Byerlee, Don Larson (World Bank), and Andrae Pouilles-Duplaix (AFD). The report draws extensively on two sets of seven country reports and data work developed by the national teams during the two phases of the RuralStruc Program.
In the second edition of the definitive account of Igor Stravinsky's life and work, arranged in two separate sections, Eric Walter White revised the whole book, completing the biographical section by taking it up to Stravinsky's death in 1971. To the list of works, the author added some early pieces that have recently come to light, as well as the late compositions, including the Requiem Canticles and The Owl and the Pussycat. Four more of Stravinsky's own writings appear in the Appendices, and there are several important additions to the bibliography.
After tasting the warm, rusty water from the fountain designated for African- Americans, a young boy questions why he cannot drink the cool, refreshing water from the "Whites Only" fountain. Based on a true experience co-author Michael S. Bandy had as a boy. 15,000 first printing.
This new edition has been thoroughly revised and edited by John Evans (research scholar to the Britten Estate) who has updated the chronological list of published works and included in the bibliography the many books that have been written about the composer since his death in 1976. Although, as the title suggests, this book concentrates on Britten's operatic output, Mr White's account offers insights into the whole range of this prodigious composer's music. The text is lavishly illustrated with plates that reveal both the diversity of his operatic development and comprise a distinctive pictorial bibliography.
In a revised, updated, and considerably expanded new edition of Sport, Theory and Social Problems, authors Eric Anderson and Adam White examine how the structure and culture of sport promotes inequality, injury, and complicity to authority at the non-elite levels of play in Anglo-American countries. By introducing students to a research-led perspective on sport, it highlights the operation of power, patriarchy, and pain that a hyper-competitive sporting culture promotes. Each chapter includes at least one key social theory, which is made accessible and pragmatic. The theory is then infused throughout the chapter to help the student engage with a deeper understanding of sport. In addition to examining how sport generates otherness, distracts children from education, and teaches the acceptance of emotional and physical violence, this new edition also examines how organized, competitive sport divides us by race, denies children the right to their own governance, and promotes brain trauma and chronic traumatic encephalopathy in those who are too young to consent to play contact sports. Sport, Theory and Social Problems: A Critical Introduction is an essential textbook for any sport studies degree with a focus on the sociology of sport, sport and social theory, children’s health and wellbeing, or sport and gender studies.
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