garrett robert a (11 Ergebnisse)

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Single Issue Magazine. Zustand: Very Good.

Single Issue Magazine. Zustand: Good. original wraps show moderate wear and chipping. price sticker on the first page. pages tanned.

Wraps. Zustand: Good. Color illustrated wraps by Ed Emsh. Digest sized. 130 pp. A single issue of this science fiction magazine featuring work by Randall Garrett, A. Bertram Chandler, Robert Silverberg and others. GOOD+ condition. Minor fading, soiling, wrinkling, scuffing and edgewear to the covers. Interior clean and solid.

Hardcover. Zustand: As New. Zustand des Schutzumschlags: As New. 1st Edition. xix, 158 pages : illustrations ; 25 cm. ; grey full cloth with "Doc" Green's syringe-and-G brand in silver on lower corner of front board. Robert A. Wilson's complete descriptions of every item Ben K. Green ever published, reproductions of dust jackets, title pages and art from all major and many lesser-known Green works, excerpts from important reviews, a section on Green's obituaries, and a complete index.

Zustand: Very Good. Publisher's original colour illustrated period science fiction super art work paper covers. 8vo. 8½'' x 5½''. Monochrome illustrations throughout. Slight tanning to the page margins, small rubs to the spine tips and in Very Good clean condition. We currently hold 70 other Astounding Science Fiction Magazine titles in stock. Member of the P.B.F.A. SCIENCE FICTION MAGAZINES.

Zustand: Very Good. Publisher's original colour illustrated period science fiction super art work paper covers. 8vo. 8½'' x 5½''. Monochrome illustrations throughout. Slight tanning to the page margins, small rubs to the spine tips and in Very Good clean condition. We currently hold 70 other Astounding Science Fiction Magazine titles in stock. Member of the P.B.F.A. SCIENCE FICTION MAGAZINES.

Taschenbuch. Zustand: Neu. Reimagining Just Education | Robert Hattam (u. a.) | Taschenbuch | Englisch | Peter Lang | EAN 9783034359382 | Verantwortliche Person für die EU: Zeitfracht Medien GmbH, Ferdinand-Jühlke-Str. 7, 99095 Erfurt, produktsicherheit[at]zeitfracht[dot]de | Anbieter: preigu.

Zustand: New. pp. xix + 1083 Illus.

Hardcover. Zustand: Very Good +. 1st Edition. Viii, 338 Pp.Brown Cloth Lettered In White. First Printing, 1967. Lght Wear. Fine Essays, First Published Here. Bookplate Of Garrett Hardin, Which Is Signed By Someone Else And With That Person's Signature On Front Free Endpaper. Garrett James Hardin (1915 -2003) Was An American Ecologist. He Focused His Career On The Issue Of Human Overpopulation, And Is Best Known For His Exposition Of The Tragedy Of The Commons In A 1968 Paper Of The Same Title In Science, Which Called Attention To "The Damage That Innocent Actions By Individuals Can Inflict On The Environment". He Is Also Known For Hardin's First Law Of Human Ecology: "We Can Never Do Merely One Thing. Any Intrusion Into Nature Has Numerous Effects, Many Of Which Are Unpredictable." A Major Focus Of His Career, And One To Which He Returned Repeatedly, Was The Issue Of Human Overpopulation. This Led To Writings On Controversial Subjects Such As Advocating Abortion Rights, Which Earned Him Criticism From The Political Right, And Advocating Strict Limits To All Immigration, Which Earned Him Criticism From The Political Left. In His Essays, He Also Tackled Subjects Such As Conservation And Creationism. He Was Also A Proponent Of Eugenics And A Vice-President Of American Eugenics Society. In 1968, Hardin Applied His Conceptual Model Developed In His Essay "The Tragedy Of The Commons" To Human Population Growth, The Use Of The Earth's Natural Resources, And The Welfare State. His Essay Cited An 1833 Pamphlet By The English Economist William Forster Lloyd Which Included An Example Of Herders Sharing A Common Parcel Of Land, Which Would Lead To Overgrazing. Hardin Blamed The Welfare State For Allowing The Tragedy Of The Commons; Where The State Provides For Children And Supports Over-Breeding As A Fundamental Human Right.] Malthusian Catastrophe Is Inevitable. Hardin Stated In His Analysis Of The Tragedy Of The Commons That "Freedom In A Commons Brings Ruin To All." Environmental Historians Joachim Radkau, Alfred Thomas Grove And Oliver Rackham Criticized Hardin "As An American With No Notion At All How Commons Actually Work". In Addition, Hardin's Pessimistic Outlook Was Subsequently Contradicted By Elinor Ostrom's Later Work On Success Of Co-Operative Structures Like The Management Of Common Land, For Which She Shared The 2009 Nobel Memorial Prize In Economic Sciences With Oliver E. Williamson. In Contrast To Hardin, They Stated Neither Commons Or "Allmende" In The Generic Nor Classical Meaning Are Bound To Fail; To The Contrary "The Wealth Of The Commons" Has Gained Renewed Interest In The Scientific Community. Hardin's Work Was Also Criticized As Historically Inaccurate In Failing To Account For The Demographic Transition, And For Failing To Distinguish Between Common Property And Open Access Resources. Despite The Criticisms, The Theory Has Nonetheless Been Influential. In 1993, Garrett Hardin Published Living Within Limits: Ecology, Economics, And Population Taboos, Which He Described At The Time As A Summation Of All His Previous Works. The Book Won The 1993 Phi Beta Kappa Award In Science. In The Book, He Argues That The Natural Sciences Are Grounded In The Concept Of Limits (Such As The Speed Of Light), While Social Sciences, Such As Economics, Are Grounded In Concepts That Have No Limits (Such As The Widespread "Infinite-Earth" Economic Models). He Notes That Most Of The More Notable Scientific (As Opposed To Political) Debates Concerning Ecological Economics Are Between Natural Scientists, Such As Paul R. Ehrlich, And Economists, Such As Julian Simon, One Of Ehrlich's Most Well Known And Vocal Detractors. A Strong Theme Throughout The Book Is That Economics, As A Discipline, Can Be As Much About Mythology And Ideology As It Is About Real Science. Hardin Goes On To Label Those Who Reflexively Argue For Growth As "Growthmaniacs", And Argues Against The Institutional Faith In Exponential Growth On A Finite Planet.

[8] pp.; 22.8 x 15.3 cm.; accordion; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Exhibition brochure / catalogue published in conjunction with show held January 21 - February 18, 1984. Foreword by Linda Shearer. Curated and with a text by Helene Winer. Galleries include Cash, Christminster Fine Art, Civilian Warfare, East 7th Street Gallery, Executive Gallery, 51 X, Fun Gallery, Tracey Garet, International With Monument, Gracie Mansion, Nature Morte, The New Math Gallery, Oggi - Domani, Pat Hearn, Piezo Electric, PPOW, and Sharpe Gallery. Artists include Stephen Aljian, Alan Belcher, Paul Benney, Zeke Berman, Ellen Berkenblit, Keiko Bonk, Tom Brazelton, Barry Bridgwood, Nancy Brooks Brody, Chris Chevins, Craig Coleman, Rich Colicchio, Michael Collins, George Condo, Gregory A. Crane, Mark Dean, Jimmy de Sana, Futura, Robert Garratt, Dana Garrett, Judith Glantzman, Arthur Gonzalez, Rodney Alan Greenblat, Kathleen Grove, Richard Hambleton, Kiely Jenkins, Sermin Kardestuncer, Elizabeth Koury, Stephen Lack, Leora Laor, Robert Loughlin, Paul Marcus, Frank Moore, Peter Nagy, Michael Ottersen, Steven Parrino, Rick Prol, Hope Sandrow, Michael Sangaris, Bruno Schmidt, Peter Schuyff, Huck Snyder, Ahbe Sulit, Frederick Sutherland, Meyer Vaisman, Oliver Wasow, Dondi White, David Wojnarowicz, Robert Yarber, Zephyr, and Rhonda Zwillinger. "The exhibition includes work from seventeen galleries located in the East Village or the area east of Second Avenue, just below Houston Street: CASH, Christminster, Civilian Warfare, East 7th Street Gallery. Executive Gallery, 51 X, Fun Gallery, Garet/ Kohn Gallery, Gracie Mansion. International with Monument, Nature Morte, New Math, Oggi-Domani, Pat Hearn. Piezo Electric, P.P.O.W. and Sharpe Gallery. Work by artists associated with the galleries have been selected by the individual gallery directors, and Helene Winer, organizer of the exhibition. Helene Winer is a past Director of Artists Space and currently co-owner of Metro Pictures a commercial gallery in SoHo. As part of Artists Space''''s celebration of its 10th anniversary season, she has organized this exhibition to examine a growing number of artist organized commercial exhibition spaces. Ms. Winer''''s past experience with the non-profit art community and her present position in the commercial art world offer a unique outlook on this new trend. In keeping with Artists Space''''s support of new art through both its Exhibition Program and Grants Program, NEW GALLERIES OF THE LOWER EAST SIDE is a look at a new outlet for emerging art: an outlet which straddles the lines between the artists cooperative, the non-profit alternative space, the artist organized independent exhibition and the commercial gallery. NEW GALLERIES OF THE LOWER EAST SIDE acknowledges the recent appearance and rapid proliferation of more than twenty commercial art galleries that are introducing new artists and art. This phenomenon has created overnight, it seems, active new exhibition outlets for artists, an on-going vehicle for massive social opening events, a Sunday activity for the art audience, a new map in the Gallery Guide and a new focus of excitement and energy in the art community. The galleries are now numerous and offer more than the aesthetic that was first presented by the pioneers (Gracie Mansion, Fun Gallery and 51 X) and which has come to be associated with the East Village. They are very professional enterprises that intend to provide serious support and attention to the artists they show. Many of the galleries are artist owned. The artist/owners who converted storefronts to studios have now converted these studios to galleries. Most of these owners work at jobs separate from the gallery to support the activity and many live ''''behind the shop." The East Village Eye and New York Beat play the role that the SoHo News and the Village Voice did for SoHo and Tribeca. The East Village and the Lower East Side of New York has been an area many artists moved to, since SoHo and then Tribeca have been increasingly gentrified, a fate that may now befall the East Village itself. Over the years the art community has found ''''alternative'''' means of creating needed opportunities for artists to exhibit their work to at least their peers, and occasionally to a broader audience. In the fifties. New York artists opened cooperative galleries on Tenth Street. Later, alternative spaces opened with government funding: commercial galleries moved from Uptown to Downtown for both space and accessibility to the artists. community artists organized their own temporary exhibitions such as the Times Square Show, and now, in a period of two years, some 25 commercial galleries have opened on the Lower East Side, the majority in 1983."--from exhibition press release Very Good / Fine. Light yellowing of cover edges, otherwise Fine. Contents clean and unmarked.