After genetic engineering, nanotechnology may well prove to be the 21st century's 'great leap forward' in scientific knowledge. The first books in this field were science fiction; now what those books predicted is becoming scientific reality. 'Nanotechnology' provides a basic introduction to the discipline, explaining what it is, and exploring the possibilities for the future.

A history of the Wilson family and the starting of Wilson Creek Winery in Temecula, California

Born in 1935, Mick Wilson describes his wartime childhood, his grammar school education, his college days, his love of jazz, marriage and professional life leading to momentous changes from the bland and conformist 1950s to the revolutionary years of modernity started in the 1960s. It is a time which includes at the beginning horse drawn vehicles in the streets, no tv, very few cars, the imprisonment of homosexuals, caning in schools, and the death penalty and goes on to a millennium without these and dominated by road transport, mass media, the internet, and a continuing struggle for greater racial and sexual equality. The author takes as his guiding philosophy: better to find out for oneself rather than being told; and uses this as a principle guiding light to debate issues arising from the growth towards modern living, the gender revolution and questions as to how to lead the good life. This covers abundant travels abroad, including several safaris in Africa and work in over a hundred countries until Mick' extended family finally returns to Suffolk. Mick's story includes a description of his unconventional marriage to Barbara, who was born into poverty and petty crime but with Mick's encouragement, becomes a world renowned clinical neuropsychologist, author of 32 books, and a receiver of several international awards including an O.B.E. The book ends with an extraordinary trek through the world's deepest canyon, the Cotahuasi in Peru, where Mick and Barbara finally reach the point where their beloved daughter Sarah lost her life in a white water rafting adventure.

The ascendancy within the contemporary art system of e-flux announcements, social media posting, art-blogging, website mediation of exhibition, and jpeg-enabled art sales has been in place for some time. However, there has been, in the context of the COVID19 global pandemic, an intensification of the relays between exhibition protocols and the culture of digital networks. In what seems like a global institutional convergence – similar in ways to the pervasivedistribution of white cube though much more accelerated – there has been a widespread adoption of the exhibition-online as the immediate solution to the demands of physical distancing, lock-down and travel restriction in the context of the global pandemic. This would seem to warrant some critical reflection and analysis in its own right. What is at stake in this drive to online exhibition? What are the operative presumptions about exhibition that inform this imperative? This volume contains a series of responses by contributors to the task of thinking the question ofexhibition in response to the extensive digitization of culture in general, and the intensive mobilisation of exhibition via digital network infrastructures in particular.