Скачать книгу - Paradoxes of Utopia

Why is there eight times more ice in Antarctica than in the Arctic? Why can you warm your hands by blowing gently, and cool your hands by blowing hard? Why would a pitcher scuff a baseball?Which weighs more-a pound of feathers or a pound of iron? Let science experts Christopher Jargodzki and Franklin Potter guide you through the curiosities of physics and you'll find the answers to these and hundreds of other quirky conundrums. You'll discover why sounds carry well over water (especially in the summer), how a mouse can be levitated in a magnetic field, why backspin is so important when shooting a basketball, and whether women are indeed as strong as men. With nearly 400 questions and answers on everything from race cars to jumping fleas to vanishing elephants, Mad about Physics presents a comprehensive collection of braintwisters and paradoxes that will challenge and entertain even the brainiest of science lovers. Whether you're a physicist by trade or just want to give your brain a power workout, this collection of intriguing and unusual physics challenges will send you on a highly entertaining ride that reveals the relevance of physics in our everyday lives.

An innovative history and critical account mapping the ways artists and their works have engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism over the past ninety years. Focuses on artists whose work expresses the concept of revolutionary social transformation Provides a strong historical narrative that adds structure and clarity Features a cogent and innovative critique of contemporary art and institutions Covers 100 years of art from Vladimir Tatlin’s constructivist ‘Monument to the Third International’, to Picasso’s late 1940s commitment to Communism, to the Unilever Series sponsored Large Artworks installed at London’s Tate Modern since 2000. Includes the only substantial account in print of John Lennon and Yoko Ono’s 1969 Montreal ‘Bed-in’ Offers an accessible description and interpretation of Debord’s ‘society of the spectacle’ theory