The Plains region that stretches from northern Colorado to southern Alberta and from the Rockies to the western Dakotas is the land of the Cheyenne and the Blackfeet, the Crow and the Sioux. Its rolling grasslands and river valleys have nurtured human cultures for thousands of years. On cave walls, glacial boulders, and riverside cliffs, native people recorded their ceremonies, vision quests, battles, and daily activities in the petroglyphs and pictographs they incised, pecked, or painted onto the stone surfaces. In this vast landscape, some rock art sites were clearly intended for communal use; others just as clearly mark the occurrence of a private spiritual encounter. Elders often used rock art, such as complex depictions of hunting, to teach traditional knowledge and skills to the young. Other sites document the medicine powers and brave deeds of famous warriors. Some Plains rock art goes back more than 5,000 years; some forms were made continuously over many centuries. Archaeologists James Keyser and Michael Klassen show us the origins, diversity, and beauty of Plains rock art. The seemingly endless variety of images include humans, animals of all kinds, weapons, masks, mazes, handprints, finger lines, geometric and abstract forms, tally marks, hoofprints, and the wavy lines and starbursts that humans universally associate with trancelike states. Plains Indian Rock Art is the ultimate guide to the art form. It covers the natural and archaeological history of the northwestern Plains; explains rock art forms, techniques, styles, terminology, and dating; and offers interpretations of images and compositions.
Avoiding Attack discusses the diversity of mechanisms by which prey avoid predator attacks and explores how such defensive mechanisms have evolved through natural selection. It considers how potential prey avoid detection, how they make themselves unprofitable to attack, how they communicate this status, and how other species have exploited these signals. Using carefully selected examples of camouflage, mimicry, and warning signals drawn from a wide range of species and ecosystems, the authors summarise the latest research into these fascinating adaptations, developing mathematical models where appropriate and making recommendations for future study. This second edition has been extensively rewritten, particularly in the application of modern genetic research techniques which have transformed our recent understanding of adaptations in evolutionary genomics and phylogenetics. The book also employs a more integrated and systematic approach, ensuring that each chapter has a broader focus on the evolutionary and ecological consequences of anti-predator adaptation. The field has grown and developed considerably over the last decade with an explosion of new research literature, making this new edition timely.
This third edition of Reconstructing Quaternary Environments has been completely revised and updated to provide a new account of the history and scale of environmental changes during the Quaternary. The evidence is extremely diverse ranging from landforms and sediments to fossil assemblages and geochemical data, and includes new data from terrestrial, marine and ice-core records. Dating methods are described and evaluated, while the principles and practices of Quaternary stratigraphy are also discussed. The volume concludes with a new chapter which considers some of the key questions about the nature, causes and consequences of global climatic and environmental change over a range of temporal scales. This synthesis builds on the methods and approaches described earlier in the book to show how a number of exciting ideas that have emerged over the last two decades are providing new insights into the operation of the global earth-ocean-atmosphere system, and are now central to many areas of contemporary Quaternary research. This comprehensive and dynamic textbook is richly illustrated throughout with full-colour figures and photographs. The book will be of interest to undergraduates, postgraduates and professionals in Earth Science, Environmental Science, Physical Geography, Geology, Botany, Zoology, Ecology, Archaeology and Anthropology
HeatStroke: Why Canada's Summer Olympic Program Is Failing--And How We Can Fix It, is Michael Simonson's incisive and passionate diagnosis of Canada's Summer Olympic performances and the disparate nature of amateur sport in Canada. He reveals why a country that seemingly dominates at the Winter Olympics is content in putting up with sporting ineptitude at the Summer Olympics. In doing so, he discovers that Canada's success at the Winter Olympics has more to do with the vision of Canada's winter sport organizations than with the health of the sport system itself. But Simonson's exposé is written out of love of his country and sport, and in the hopes of turning Canadian sport around so all of our athletes have the opportunity to be successful. While his book is a tough diagnosis of our sporting ills, it also examines Canada's plan for resurgence at the Summer Olympics, while offering its own blueprint for success, not just in the short-term but for many Olympiads to come. Examining some of the best practices implemented in Canada's winter sport system HeatStroke provides a made in Canada solution to our summer sporting ills.
*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.
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