Richard J. Williams – författare

Fire is a major agent of disturbance in many biomes of the world but is a particularly important feature of tropical savannas. Up to 50% of the ext- sive tropical savanna landscapes of northern Australia are burnt each year. This includes prestigious conservation reserves such as World Heritage— listed Kakadu National Park, in the Top End of the Northern Territory. As in other savanna regions of the world, the responses of biota to different ?re regimes are poorly understood, such that ?re management represents one of the greatest challenges to conservation managers and researchers alike. This is the context within which a landscape-scale ?re experiment was established at Kapalga Research Station in Kakadu,which aimed to provide a sound scienti?c basis for conservation management in the region. The experiment was established by The Australian Commonwealth Scienti?c and Industrial Research Organization (CSIRO),but involved collaborators from a range of universities and government agencies, including the m- agers of Kakadu,the Australian Nature Conservation Agency (ANCA:now Parks Australia North). This book summarizes the ?ndings from the Kapalga ?re experiment and explores the implications for conservation management. We believe that Kapalga has provided important insights into the ?re ecology of tropical savannas and has broad relevance for the conservation management of ?- prone landscapes in general. This book should be of interest to researchers, graduate students, and land management agencies. vii viii Preface We are extremely grateful to all our collaborators,both inside and outside CSIRO, for their involvement in the Kapalga experiment.

Fire is a major agent of disturbance in many biomes of the world but is a particularly important feature of tropical savannas. Up to 50% of the ext- sive tropical savanna landscapes of northern Australia are burnt each year. This includes prestigious conservation reserves such as World Heritage— listed Kakadu National Park, in the Top End of the Northern Territory. As in other savanna regions of the world, the responses of biota to different ?re regimes are poorly understood, such that ?re management represents one of the greatest challenges to conservation managers and researchers alike. This is the context within which a landscape-scale ?re experiment was established at Kapalga Research Station in Kakadu,which aimed to provide a sound scienti?c basis for conservation management in the region. The experiment was established by The Australian Commonwealth Scienti?c and Industrial Research Organization (CSIRO),but involved collaborators from a range of universities and government agencies, including the m- agers of Kakadu,the Australian Nature Conservation Agency (ANCA:now Parks Australia North). This book summarizes the ?ndings from the Kapalga ?re experiment and explores the implications for conservation management. We believe that Kapalga has provided important insights into the ?re ecology of tropical savannas and has broad relevance for the conservation management of ?- prone landscapes in general. This book should be of interest to researchers, graduate students, and land management agencies. vii viii Preface We are extremely grateful to all our collaborators,both inside and outside CSIRO, for their involvement in the Kapalga experiment.

In the Western world, cities have arguably never been more anxious: practical anxieties about personal safety and metaphysical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centres is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What does it mean? Taking England since WWII as its principal focus, this provocative and original book considers the Western city at a critical moment in its history.

In the Western world, cities have arguably never been more anxious: practical anxieties about personal safety and metaphysical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centres is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What does it mean? Taking England since WWII as its principal focus, this provocative and original book considers the Western city at a critical moment in its history.

In Flammable Australia: Fire Regimes, Biodiversity and Ecosystems in a Changing World, leading researchers in fire ecology and management discuss how fire regimes have shaped and will continue to shape the distribution and abundance of Australia’s highly diverse plants and animals. Central to this is the exploration of the concept of the fire regime – the cumulative pattern of fires and their individual characteristics (fire type, frequency, intensity, season) and how variation in regime components affects landscapes and their constituent biota. Contributions by 44 authors explore a wide range of topics including classical themes such as pre-history and evolution, fire behaviour, fire regimes in key biomes, plant and animal life cycles, remote sensing and modelling of fire regimes, and emerging issues such as climate change and fire regimes, carbon dynamics and opportunities for managing fire regimes for multiple benefits. In the face of significant global change, the conservation of our native species and ecosystems requires an understanding of the processes at play when fires and landscapes interact. This book provides a comprehensive treatment of this complex science, in the context of one of the world’s most flammable continents.

In Flammable Australia: Fire Regimes, Biodiversity and Ecosystems in a Changing World, leading researchers in fire ecology and management discuss how fire regimes have shaped and will continue to shape the distribution and abundance of Australia’s highly diverse plants and animals. Central to this is the exploration of the concept of the fire regime – the cumulative pattern of fires and their individual characteristics (fire type, frequency, intensity, season) and how variation in regime components affects landscapes and their constituent biota.

Contributions by 44 authors explore a wide range of topics including classical themes such as pre-history and evolution, fire behaviour, fire regimes in key biomes, plant and animal life cycles, remote sensing and modelling of fire regimes, and emerging issues such as climate change and fire regimes, carbon dynamics and opportunities for managing fire regimes for multiple benefits.

In the face of significant global change, the conservation of our native species and ecosystems requires an understanding of the processes at play when fires and landscapes interact. This book provides a comprehensive treatment of this complex science, in the context of one of the world’s most flammable continents.

We tend to think cities look the way they do because of the conscious work of architects, planners and builders. But what if the look of cities had less to do with design, and more to do with social, cultural, financial and political processes, and the way ordinary citizens interact with them? What if the city is a process as much as a design? Richard J. Williams takes the moment construction is finished as a beginning, tracing the myriad processes that produce the look of the contemporary global city.This book is the story of dramatic but unforeseen urban sights: how financial capital spawns empty towering skyscrapers and hollowed-out ghettoes; how the zoning of once-illicit sexual practices in marginal areas of the city results in the reinvention of culturally vibrant gay villages; how abandoned factories have been repurposed as creative hubs in a precarious postindustrial economy. It is also the story of how popular urban clichés and the fictional portrayal of cities powerfully shape the way we read and see the bricks, concrete and glass that surround us.Thought-provoking and original, Why Cities Look the Way They Do will appeal to anyone who wants to understand the contemporary city, shedding new light on humanity’s greatest collective invention.

We tend to think cities look the way they do because of the conscious work of architects, planners and builders. But what if the look of cities had less to do with design, and more to do with social, cultural, financial and political processes, and the way ordinary citizens interact with them? What if the city is a process as much as a design? Richard J. Williams takes the moment construction is finished as a beginning, tracing the myriad processes that produce the look of the contemporary global city.This book is the story of dramatic but unforeseen urban sights: how financial capital spawns empty towering skyscrapers and hollowed-out ghettoes; how the zoning of once-illicit sexual practices in marginal areas of the city results in the reinvention of culturally vibrant gay villages; how abandoned factories have been repurposed as creative hubs in a precarious postindustrial economy. It is also the story of how popular urban clichés and the fictional portrayal of cities powerfully shape the way we read and see the bricks, concrete and glass that surround us.Thought-provoking and original, Why Cities Look the Way They Do will appeal to anyone who wants to understand the contemporary city, shedding new light on humanity’s greatest collective invention.

We tend to think cities look the way they do because of the conscious work of architects, planners and builders. But what if the look of cities had less to do with design, and more to do with social, cultural, financial and political processes, and the way ordinary citizens interact with them? What if the city is a process as much as a design? Richard J. Williams takes the moment construction is finished as a beginning, tracing the myriad processes that produce the look of the contemporary global city.

This book is the story of dramatic but unforeseen urban sights: how financial capital spawns empty towering skyscrapers and hollowed-out ghettoes; how the zoning of once-illicit sexual practices in marginal areas of the city results in the reinvention of culturally vibrant gay villages; how abandoned factories have been repurposed as creative hubs in a precarious postindustrial economy. It is also the story of how popular urban clichés and the fictional portrayal of cities powerfully shape the way we read and see the bricks, concrete and glass that surround us.

Thought-provoking and original, Why Cities Look the Way They Do will appeal to anyone who wants to understand the contemporary city, shedding new light on humanity’s greatest collective invention.

In the Western world, cities have arguably never been more anxious: practical anxieties about personal safety and metaphysical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centres is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What does it mean? Taking England since WWII as its principal focus, this provocative and original book considers the Western city at a critical moment in its history.

In the Western world, cities have arguably never been more anxious: practical anxieties about personal safety and metaphysical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centres is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What does it mean? Taking England since WWII as its principal focus, this provocative and original book considers the Western city at a critical moment in its history.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years.In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years.In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

Fire is a major agent of disturbance in many biomes of the world but is a particularly important feature of tropical savannas. Up to 50% of the ext- sive tropical savanna landscapes of northern Australia are burnt each year. This includes prestigious conservation reserves such as World Heritage— listed Kakadu National Park, in the Top End of the Northern Territory. As in other savanna regions of the world, the responses of biota to different ?re regimes are poorly understood, such that ?re management represents one of the greatest challenges to conservation managers and researchers alike. This is the context within which a landscape-scale ?re experiment was established at Kapalga Research Station in Kakadu,which aimed to provide a sound scienti?c basis for conservation management in the region. The experiment was established by The Australian Commonwealth Scienti?c and Industrial Research Organization (CSIRO),but involved collaborators from a range of universities and government agencies, including the m- agers of Kakadu,the Australian Nature Conservation Agency (ANCA:now Parks Australia North). This book summarizes the ?ndings from the Kapalga ?re experiment and explores the implications for conservation management. We believe that Kapalga has provided important insights into the ?re ecology of tropical savannas and has broad relevance for the conservation management of ?- prone landscapes in general. This book should be of interest to researchers, graduate students, and land management agencies. vii viii Preface We are extremely grateful to all our collaborators,both inside and outside CSIRO, for their involvement in the Kapalga experiment.

Throughout the centuries there have been many wonderful stories told. Stories of gods, heroes, monsters and the individuals who have changed their own fates, and the story that is about to be told is no different. This is the story of an average boy who will learn what it means to be a hero and how to change fate, not only his own but that of others as well. While the main character may seem like an unlikely hero, he has all of the qualities that many great heroes have had in the past. Within this young man beats the heart of a champion, but like many champions he will be tested. This young mans name is Michael Richardson and he is about to go on the journey of a lifetime.

In the demonology of the contemporary city, is there anything more toxic than the expressway? Dividing neighbourhoods, depressing land values, concentrating atmospheric pollutants, the mammoth infrastructure of the expressway is now increasingly crumbling into the ground. How did we build the expressway world in the first place? And what are we going to do now with it now? This eye-opening book explores these questions partly through the great expressway abolitions of recent years, such as Boston’s Central Artery (buried and covered by a park) and Seoul’s Cheonggyecheon (replaced with an artificial river). But the book also uncovers the hidden stories of expressways that have become weird attractions in their own right, from London’s Westway to São Paulo’s Minhocão, celebrated in art and literature. Above all, the book proposes, counterintuitively, that we find ways to live with the expressway world and to adapt it to a different future, inspired by the many examples where people have already reinvented this challenging legacy on their own terms. Engaging with case studies across the world and recent thinking in the environmental humanities and architectural theory, this is a thought-provoking invitation to reconsider the most maligned structures of the recent urban past.

In the demonology of the contemporary city, is there anything more toxic than the expressway? Dividing neighbourhoods, depressing land values, concentrating atmospheric pollutants, the mammoth infrastructure of the expressway is now increasingly crumbling into the ground. How did we build the expressway world in the first place? And what are we going to do now with it now? This eye-opening book explores these questions partly through the great expressway abolitions of recent years, such as Boston’s Central Artery (buried and covered by a park) and Seoul’s Cheonggyecheon (replaced with an artificial river). But the book also uncovers the hidden stories of expressways that have become weird attractions in their own right, from London’s Westway to São Paulo’s Minhocão, celebrated in art and literature. Above all, the book proposes, counterintuitively, that we find ways to live with the expressway world and to adapt it to a different future, inspired by the many examples where people have already reinvented this challenging legacy on their own terms. Engaging with case studies across the world and recent thinking in the environmental humanities and architectural theory, this is a thought-provoking invitation to reconsider the most maligned structures of the recent urban past.

The Culture Factory: Architecture and the Contemporary Art Museum explores the key battlegrounds in the design of the contemporary-art museum, describing the intersection of art, aesthetics and politics at the highest levels, and the commitment of states, cities and wealthy individuals to the display of art. Global in scope, the book examines key examples from Europe and the Americas to contemporary China. It describes museum building as the projection of political power, but also as a desire to acquire power. So it is a book about ambitious peripheries as much as the traditional centres: Dundee and Bilbao as well as New York and Paris.It is commonplace to assume that the contemporary-art museum has become ever more spectacular, and the place of art ever more subservient within it. This book argues that a tendency to spectacle coexists with another equally powerful tendency, to make art museums that celebrate the artistic process, typically attempting to recreate the feeling of the artist's studio. That tendency is strongly represented in the designs for the Centre Georges Pompidou, completed in 1977, and arguably in the many contemporary art museums which have adapted former industrial buildings.Richard J. Williams's stimulating text includes many historical examples to illustrate how we got to where we are now, from the Centre Pompidou in Paris, to the Guggenheim museums in New York and Bilbao, London’s Tate Modern, Oscar Niemeyer's work in Brazil and beyond, and the 798 Art District in Beijing.

Noise damage to hearing health is a health risk which is associated with both civilian and military occupations as well as certain leisure activities. Occupational noise damage to hearing must date from the bronze age, when man first began to fashion metals some five thousand years ago. The rapid growth of industrialisation over the past two centuries has produced what might be termed as the current civilian epidemic of occupational noise induced hearing loss. This series seeks to address points relevant to current knowledge of the subject. The volume should prove useful to members of the many disciplines that have an interest in this subject.

Amateur astronomers who want to enhance their capabilities to contribute to science need look no farther than this guide to using remote observatories. The contributors cover how to build your own remote observatory as well as the existing infrastructure of commercial networks of remote observatories that are available to the amateur. They provide specific advice on which programs to use based on your project objectives and offer practical project suggestions. Remotely controlled observatories have many advantages—the most obvious that the observer does not have to be physically present to carry out observations. Such an observatory can also be used more fully because its time can be scheduled and usefully shared among several astronomers working on different observing projects. More and more professional-level observatories are open to use by amateurs in this way via the Internet, and more advanced amateur astronomers can even build their own remote observatories for sharing among members of a society or interest group.Endorsements:“Remote Observatories for Amateur Astronomers Using High-Powered Telescopes from Home, by Jerry Hubbell, Rich Williams, and Linda Billard, is a unique contribution centering on computer-controlled private observatories owned by amateur astronomers and commercialized professional–amateur observatories where observing time to collect data can be purchased. Before this book, trying to piece together all of the necessary elements and processes that make up a remotely operated observatory was daunting. The authors and contributors have provided, in this single publication, a wealth of information gained from years of experience that will save you considerable money and countless hours in trying to develop such an observatory. If you follow the methods and processes laid out in this book and choose to build your own remotely operated observatory or decide to become a regular user of one of the commercial networks, you will not only join an elite group of advanced astronomers who make regular submissions to science, but you will become a member of an ancient fraternity. Your high-technology observatory will contain a “high-powered telescope” no matter how large it is, and from the comfort of home, you can actively contribute to the work that started in pre-history to help uncover the secrets of the cosmos.”Scott RobertsFounder and President, Explore Scientific, LLC.“In the past three and a half decades, since I first became involved with remote observatories, the use of remote, unmanned telescopes at fully automated observatories has advanced from a very rare approach for making astronomical observations to an increasingly dominant mode for observation among both professional and amateur astronomers. I am very pleased to see this timely book being published on the topic. I highly recommend this book to readers because it not only covers the knowledge needed to becomean informed user of existing remote observatories, but also describes what you need to know to develop your own remote observatory. It draws on more than two decades of remote observatory operation and networking by coauthor Rich Williams as he developed the Sierra Stars Observatory Network (SSON) into the world-class network it is today. This book is the ideal follow-on to coauthor Jerry Hubbell’s book Scientific Astrophotography (Springer 2012).Remote observatories have a bright future, opening up astronomy to a new and much larger generation of professional, amateur, and student observers. Machines and humans can and do work well together. I hope you enjoy reading this book as much as I have and will take advantage of the developments over the past several decades by the many pioneers of remote observatories.”Russ Genet, PhD.California Polytechnic State UniversityObserving Saturn for the first time is a memory that stays with us for the rest of our lives, and for many it is the start of an odyssey--an odyssey into observational astronomy. Remote Observatories for Amateur Astronomers is a book written for observers, beginners, and old hands alike, providing detailed advice to those wishing to improve their observing skills. Many will want to build and operate a remotely controlled observatory, and for those, Part I of this book is an invaluable source of information. If, like me, you choose to avoid the capital outlay of owning your own facility, Part II describes how you can use one of the many professionally run large scopes where, for a few dollars, you can capture spectacular color images of nebulae, galaxies, and comets. My own scientific interest in short period eclipsing binaries has been made possible through the availability of remote telescopes such as those operated by the Sierra Stars Observatory Network (SSON). Whichever route you take, this book is essential reading for all who aspire to serious observing.David Pulley The Local Group (UK)