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This multiple-choice question-and-answer review book is an excellent study aid for candidates preparing for board certification. It also serves as a useful review for recertification examinations in pathology. It provides a systematic review of surgical pathology, with more than 600 multiple-choice questions emphasizing differential diagnostic aspects of problem solving. Each question focuses on a specific disease entity or diagnostic problem as presented in Sternberg’s Diagnostic Surgical Pathology. Questions are followed by answers and succinct explanations. Each chapter ends with explanatory notes summarizing the main features of the pathologic conditions covered in the questions.

Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

6th har/psc edition. 2703 pages. 11.75x9.50x5.50 inches. In Stock.

Five years of Nina Canell's sculptural work, documented and generously illustrated in color.Cable cuts, energetics, and gunk: moving back and forth between a group of core subjects, Reflexologies converts the past five years of Nina Canell's sculptural work into a 384-page book. It is interrupted throughout by a lagged conversation and three new texts: Martin Herbert reflects on subsea cable stumps and the generative potential of gaps; Jennifer Teets considers flexible pneus and viscous processes; and Robin Watkins tackles a slow real-time collaboration. Images have been grouped in a loosely chronological sequence, allowing exhibition views to fold out into parallel trajectories that emphasize Canell's ongoing preoccupation with the configuration and breakdown of material relations.ContributorsMartin Herbert, Jennifer Teets, Robin Watkins (+ a transcribed conversation between Alexander R. Galloway and Nicole Starosielski)

Since the so-called dematerialization of currencies and art practices in the late 1960s and early 1970, we have witnessed a move into what Joshua Simon calls an economy of neomaterialism. With this, several shifts have occurred: the focus of labor has moved from production to consumption, the commodity has become the historical subject, and symbols now behave like materials.Neomaterialism explores the meaning of the world of commodities, and reintroduces various notions of dialectical materialism into the conversation on the subjectivity and vitalism of things. Here, Simon advocates for the unreadymade, sentimental value, and the promise of the dividual as a means for a vocabulary in this new economy of meaning.Reflecting on general intellect as labor and the subjugation of an overqualified generation to the neofeudal order of debt finance―with a particular focus on dispossession and rent economy, post-appropriation display strategies and negation, the barricade and capital's technocratic fascisms―Neomaterialism merges traditions of epic communism with the communism that is already here.

Tasked by studio executives with finding the next great screen siren, visionary Hollywood director Josef von Sternberg joined forces with rising German actor Marlene Dietrich, kicking off what would become one of the most legendary partnerships in cinema history. Over the course of six films produced by Paramount in the 1930s, the pair refined their shared fantasy of pleasure, beauty, and excess. Dietrichs coolly transgressive mystique was a perfect match for the provocative roles von Sternberg

Tasked by studio executives with finding the next great screen siren, visionary Hollywood director Josef von Sternberg joined forces with rising German actor Marlene Dietrich, kicking off what would become one of the most legendary partnerships in cinema history. Over the course of six films produced by Paramount in the 1930s, the pair refined their shared fantasy of pleasure, beauty, and excess. Dietrichs coolly transgressive mystique was a perfect match for the provocative roles von Sternberg

Unbuilding is the other half of building. Buildings, treated as currency, rapidly inflate and deflate in volatile financial markets. Cities expand and shrink; whether through the violence of planning utopias or war, they are also targets of urbicide. Repeatable spatial products quickly make new construction obsolete; the powerful bulldoze the disenfranchised; buildings can radiate negative real estate values and cause their surroundings to topple to the ground. Demolition has even become a spectacular entertainment. Keller Easterling's volume in the Critical Spatial Practice series analyzes the urgency of building subtraction. Often treated as failure or loss, subtraction―when accepted as part of an exchange―can be growth. All over the world, sprawl and overdevelopment have attracted distended or failed markets and exhausted special landscapes. However, in failure, buildings can create their own alternative markets of durable spatial variables that can be managed and traded by citizens and cities rather than the global financial industry. These ebbs and flows―the appearance and disappearance of building―can be designed. Architects―trained to make the building machine lurch forward―may know something about how to put it into reverse.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 2.31

New Book. Shipped from UK. Established seller since 2000.

Essays consider the temporality and the aesthetics of “standstill.”"Standstill” could be the name for the kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a nonlinear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst of the subject, for the lapse between the subject of the enunciation and the subject of a statement, the limit that is the border between the inside and the outside. It can be the name for the mode of potentiality, for the moment of gesture, or, with Walter Benjamin, the medium of the dialectical image. The essays of this book traverse these dimensions of standstill as an in-between of time.ContributorsGeorges Didi-Huberman, Reinhold Görling, Barbara Gronau, Adrian Heathfield, Erika Fischer-Lichte, Oliver Marchart, Rita McBride, Christoph Menke, Aernout Mik, Misha Kavka, David Lapoujade, Mirjam Lewandowsky, Via Lewandowsky, Peter Osborne, Christine Ross, Marcel Odenbach, Jacques Rancière, Ludger Schwarte, Martin Seel

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.2

Many postwar American artists were influenced by French philosophy, literary studies, and social sciences. Accordingly, a number of French authors gathered under the label “French Theory”―a name referring roughly to structuralism and post structuralism―has received sustained attention in the United States. As early as the early 1960s, this reception helped to shape both American artistic practice and the fate of French thought in a crucial way. At the turn of the twenty-first century, the wealth of works from the human sciences and philosophy in American culture became the subject of numerous studies.French Theory and American Art examines some of the main historical conditions of this reception. It considers significant texts, artists, authors, and events that were instrumental in the introduction of French thought into the artistic field of the United States. The relation between artistic creation and theoretical thought, between singular, inventive uses and creative misunderstandings of theory, constitutes the other major question of the present volume.Copublished with (SIC)ContributorsPhilip Armstrong, Victor Burgin, François Cusset, Larisa Dryansky, Benjamin Greenman, Rachel Haidu, Sylvère Lotringer, Stephen Melville, Laura Mulvey, Kassandra Nakas, Peter Osborne, Jean-Michel Rabaté, John Rajchman, Katia Schneller, Alexander Streitberger, Hilde Van Gelder, Erik Verhagen

“What's my DNA?” Virgil Abloh asks to an overflowing auditorium at the Harvard University Graduate School of Design. Abloh goes on to provide his audience with a “cheat code”―advice he wishes he had received as a student. He then unpacks a series of “shortcuts” for cultivating a “personal design language.” Trained as an architect and engineer, Abloh has translated the tools and techniques of his student days into the world of fashion, product design, and music. His label, Off-White, works in seeming contradictions, marrying streetwear with couture, collaborating with brands like Nike, Ikea, and the Red Cross; musicians like Lil Uzi Vert and Rihanna; and “mentors” like Rem Koolhaas. Impervious to hurdles (“They literally don't exist.”), Abloh takes us behind the scenes of his design process, sharing the essentials of editing, problem-solving, and storytelling. He paints a picture of his DNA, and then flips the question: What's your DNA?The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.Edited by Jennifer Sigler and Leah Whitman-SalkinCopublished with the Harvard University Graduate School of DesignAge Range:18 YEARS

The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices. The prospect of a fully automated future―while acutely reshaping the notions of work, production, and value creation―also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed.This book surveys the literature on that story. It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises.Copublished with Kunsthalle Wien on the occasion of the exhibition “The Promise of Total Automation,” March 11–May 29, 2016.

One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the Arab Spring and its hellish aftermath.Rereading the history of the roundabout through the vortices of history that traverse it, the book follows the development of the roundabout in Europe and North America in the early twentieth century, to its subsequent export to the colonial world in the context of attempts to discipline and police the “chaotic” non-Western city. How did an urban apparatus put in the service of authoritarian power became the locus of its undoing? Today, as the tide of revolt that characterized the Arab Spring seems to ebb, when nations and societies disintegrate by brutal civil wars and military oppression, the series of revolutions might seem like Dante's circles of hell. To counter this counter-revolution, Weizman proposes that the immanent power of the people at the roundabouts will need to find its corollary in sustained work at round tables―the ongoing formation of political movements able to enact political change. The sixth volume of the Critical Spatial Practice series stems from Eyal Weizman's contribution to the Gwangju Folly II in 2013, an exhibition curated by Nikolaus Hirsch with Philipp Misselwitz and Eui Young Chun for the Gwangju Biennale. Weizman and the architect Samaneh Moafi constructed a folly composed of seven roundabouts and a round table in front of the Gwangju train station, one of the central points in the events of May 1980.Critical Spatial Practice 6With Blake Fisher and Samaneh MoafiEdited by Nikolaus Hirsch, Markus MiessenFeaturing photography by Kyungsub Shin

Fine Arts continues Jos de Gruyter & Harald Thys's playful and dystopic approach to depicting the human condition. The artist duo became watercolorists for the project, harping back to an early amateur pictorial tradition while basing their picture making on a range of quotidian and historical images culled from the Internet. Deadpan images of the banal and the fanciful accompany the grievous and the tragic, without comment. Nostalgia and innocence are dimly stirred and questioned. Although the genre of the watercolorist, and its association with pastoral and colonialist scenes, may be considered outdated, the contemporary mode of sourcing the images implies that these pictures might not be matters of the past. This book brings together the collection of over ninety watercolors in a glossy format reminiscent of a picture book or auction house catalogue. Copublished with CCA Wattis Institute for Contemporary Arts, San Francisco; MoMA PS1, New York; and Raven Row, London, on the occasion of the eponymous traveling exhibition in 2015.

“Nothing in the architecture of Lacaton and Vassal is what it looks like at first glance.”― Iñaki Ábalos, introducing Anne Lacaton and Jean-Philippe Vassal, Harvard University Graduate School of Design, March 24, 2015Anne Lacaton and Jean-Philippe Vassal are known for an architecture that privileges inhabitants' freedom and pleasure through generous, open designs. The Paris-based architects opened their 2015 lecture at Harvard University with a manifesto: study and create an inventory of the existing situation; densify without compressing individual space; promote user mobility, access, choice; and most importantly, never demolish. Freedom of Use reflects on these core values to present a fluid narrative of Lacaton and Vassal's oeuvre, articulated through processes of accumulation, addition, and extension. The architects describe built and unbuilt work, from a house in Niger made of little more than branches; to the expansive Nantes School of Architecture; to a public square in Bordeaux where, after months of study, their design solution was: do nothing.Lacaton and Vassal's principle of doubling space is echoed in the book's treatment of photography: black-and-white exterior shots that run alongside the text form a dialogue with corresponding full-color photographs of each interior, gathered at the end of the book.The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.Edited by Jennifer Sigler and Leah Whitman-SalkinCopublished with the Harvard University Graduate School of Design

The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.