This title, which complements the volume Your Private Sky: The Art of Design Science (see page 44), gives an authentic insight into the development of Fuller's architectonic, technical, & anthropological concepts. Fuller was the epitome of the poet as engineer, the thinker as designer, the artist as researcher. He left behind a voluminous quantity of writing, including texts of visionary importance & penetrating linguistic force, as well as of urgent topicality. The book documents various aspects of Fuller's widely respected texts. These testaments were intended to be shared with the whole world, or, as Fuller coined it in 1950, with "Spaceship Earth."###3-7643-6072-0
This book collects some of R. Buckminster Fuller’s most important recent writings on the subject of spaceship Earth: the big, interconnected, total system that is “the only one we’ve got.” These articles stress the need for considering our planet as a whole, rather than breaking it into its parts—as most of us continue to do. This theme is crucial to the thinking of Bucky Fuller, who, in addition to his many other appellations, has been called the “godfather” of the Whole Earth Catalog. “Humanity is acquiring the right technology for all the wrong reasons—and only as driven by looming wars and the fear of being annihilated by the enemy. Humanity could acquire the technology for the purpose of total success and enduring peace. We say we cannot afford it in peace times, but technology … not only pays for itself but [leads] inadvertently to the acquisition of greater wealth.” —from “Earthians’ Critical Moment” in Earth, Inc. From backflap Earth, Inc.
In 1970 and 1971, Fuller was concurrently composing a poem suggested by his new Morgan sloop “Intuition” and rewriting, with my collaboration, the projected first chapter of Synergetics called “Brain and Mind.” Fuller agreed with my suggestion that this first chapter had an integrity of its own separate from the rest of the Synergetics manuscript, and he felt that both of these works had an urgency that argued for their publication at the earliest possible date. WIth the help of Bill Whitehead, our editor at Doubleday, they were combined in Intuition, the first of his two books of blank verse. Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller
Concerned with the origins and development of the Dymaxion House project as well as Fuller's public persona, the author uses Buckminster Fuller's archives, particularly the multivolume "Chronofile" to construct a history parallel to the accepted sequence of events.
Buckminster Fuller (1895-1983) was one of the most innovative and influential thinkers of the twentieth century. Best known as the inventor of the geodesic dome, Fuller sought out long-term, technology-led solutions to the world's most pressing social and environmental problems. His prodigious creative output-from visionary architectural works and experimental structures to expressive drawings and poetic musings-foreshadowed today's green design and prefab housing movements. R.Buckminster Fuller: World Man documents his never-before-published 1966 Kassler lecture at Princeton University School of Architecture. Delivered at the height of his career (Fuller had appeared on the cover of Time magazine in 1964), he used the lecture to reflect on and synthesize his most significant concepts. In addition to a faithful facsimile of the lecture's typewritten transcript, the book includes an introductory essay on Fuller's work, a glossary of key terms and phrases, and an interview with Robert Geddes, the dean responsible for bringing Fuller to teach and lecture at the school.
During a day spent with three children--one tenand two twelve-year-olds--inventor Buckminster Fuller talks about the universe and how it works and answers the children's wide-ranging questions
In “Ideas and Integrities” Buckminster Fuller describes the revolutionary designs and concepts he has pioneered – among them the geodesic dome, the Dymaxion world map, the Dymaxion 4-D house, the Dymaxion 4-D automobile, and the countless other structures and creations that have changed the face of America and the world. And he sets forth his amazing and challenging ideas for the world of the future – ideas that would revolutionize everything from university education to bathroom design, ideas that, above all, demonstrate how we can and must make far more imaginative and efficient use of the resources now available to us to ensure a better standard of living for all men. Description by Lars Muller Publishers, courtesy of The Estate of Buckminster Fuller
Synergetics, according to E. J. Applewhite, was Fuller's name for the geometry he advanced based on the patterns of energy that he saw in nature. For Fuller, geometry was a laboratory science with the touch and feel of physical models--not rules out of a textbook. It gains its validity not from classic abstractions but from the results of individual physical experience. Description by the Buckminster Fuller Institute, courtesy of The Estate of Buckminster Fuller
Synergetics 2 contains a ninety-page index to both volumes. They comprise a single work with the sequence of paragraphs numbered to dovetail in a single integrated narrative. They should eventually be published as a single work eliminating the artificial division into two volumes resulting from the chronology of their composition. E. J. Applewhite, courtesy of the Estate of R. Buckminster Fuller
A series of twenty-one original triangular lithographs (with narrative captions) which may be displayed in a helical scroll of linked tetrahedra. They were executed during the years 1975 and 1976 under the guiding light of Tatyana Grosman (to whom Fuller had been introduced by Edwin Schlossberg) at her ULAE print workshop in West Islip, Long Island. In something of a publishing innovation this trade book was brought out concurrently with a limited edition of the signed original lithographs. Michael Denneny was the editorial impresario at St. Martin's and Ronald Feldman Fine Arts handled the exhibition of the lithographs. Fuller composed the Tetrascroll between the publication of Synergetics in 1975 and Synergetics 2 in 1979. He had been frustrated by the rigid structure of the synergetics books which, despite certain advantages, he felt robbed the work of spontaneity and narrative force. To compensate for this Fuller worked feverishly on the Tetrascroll as a free-form obbligato to the synergetics books. He explained to me at the time, "The empirical, the scientific way to present the argument of synergetics is the way I am doing it in Goldilocks. Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller
Here Buckminster Fuller takes on the gigantic corporate megaliths that exert increasing control over every aspect of daily life. In the form of a modern allegory, he traces the evolution of these multinational giants from the post-World War II military-industrial complex to the current army of abstract legal entities known as the corporate world.
Jonathan Williams and Fuller became friends at Black Mountain College in North Carolina in the 1930s. Williams was delighted when in 1962 Fuller offered him a grant to help bring out this long poem in the Jargon Press series. Williams knew nothing about the concurrent Simon and Schuster edition until some years later when he came across a copy in a bookstore. Given Fuller’s casual approach to the publishing process this kind of funny coincidence was not unusual. Russell Davenport was an editor at Fortune magazine during the period from 1938 to 1940 when Fuller was a consultant. (Davenport was later national campaign manager for Wendell Willkie in the Republican campaign of 1940.) Almost buried on the back of the folded inside flap copy of the Jargon edition is Fuller’s statement that he and Davenport closely collaborated on the Industrialization piece: “About 10 percent of the wording was Davenport’s” and “... neither of us ever hoped it would find a publisher.” In the introduction Davenport describes Fuller as “not a poet in words” but “a poet in science,” and he had once described Fuller in Fortune as “the first poet of industrialization.” Hugh Kenner has characterized this anthem to American industry as “our only readable didactic poem.” Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller
Concerned with the origins and development of the Dymaxion House project as well as Fuller's public persona, the author uses Buckminster Fuller's archives, particularly the multivolume "Chronofile" to construct a history parallel to the accepted sequence of events.
This title, which complements the volume Your Private Sky: The Art of Design Science (see page 44), gives an authentic insight into the development of Fuller's architectonic, technical, & anthropological concepts. Fuller was the epitome of the poet as engineer, the thinker as designer, the artist as researcher. He left behind a voluminous quantity of writing, including texts of visionary importance & penetrating linguistic force, as well as of urgent topicality. The book documents various aspects of Fuller's widely respected texts. These testaments were intended to be shared with the whole world, or, as Fuller coined it in 1950, with "Spaceship Earth."###3-7643-6072-0
New edition of Buckminster Fuller’s first work published in 1938, which was promoted by Albert Einstein. In 43 chapters the constructor, visionary, inventor, designer, creator of language, and spectacular performer rolls out the art of independent thought. Fuller lays out an enormous horizon and Nine Chains to the Moon is equivalent to a navigation across the world we live in: "What Is a House?", "Death and Life", "Longing Crosses the Sea", "Dollarability", "We Call it Earth", "Stomach Rhythms", "Ephemeralization"—from the microscopic to the automobile, to the house, to urbanity, to the image of the cosmos in constant movement. The title, said Fuller, is meant to stimulate open thinking: the 1938 world population, one person on the shoulders of another, will reach from the earth to the moon nine times!
Introduces the concept of avant-garde art to readers as it has been practiced over the last century. Covering figures and genres in all styles of art, this is an ideal introduction to often misunderstood art forms.
Buckminster Fuller’s prophetic 1962 book “Education Automation” brilliantly anticipated the need to rethink learning in light of a dawning revolution in informational technology – “upcoming major world industry.” Along with other essays on education, including “Breaking the Shell of Permitted Ignorance,” “Children: the True Scientists” and “Mistake Mystique” this volume presents a powerful approach for preparing ourselves to face epochal changes on spaceship earth: “whether we are going to make it or not... is really up to each one of us; it is not something we can delegate to the politicians – what kind of world are you really going to have?” Description by Lars Muller Publishers, courtesy of The Estate of Buckminster Fuller
Richard Kent Evans tells the story of MOVE, a small, little-known, mostly African American group that emerged in Philadelphia in the early 1970s. In 1985, the Philadelphia Police Department -- working in concert with federal and state law enforcement -- attacked a home that MOVE members shared in West Philadelphia. Eleven people were killed in the attack, including five children. Many MOVE members thought of themselves as belonging to a religion, but to others, most importantly the courts, MOVE was anything but. Evans uses MOVE's story as a lens through which to examine how we decide what constitutes a genuine religious tradition, and the enormous consequences of that decision.
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