While it is responsible for today’s abundance of flat screens—on televisions, computers, and mobile devices—most of us have only heard of it in the ubiquitous acronym, LCD, with little thought as to exactly what it is: liquid crystal. In this book, Esther Leslie enlightens us, offering an accessible and fascinating look at—not a substance, not a technology—but a wholly different phase of matter.
            As she explains, liquid crystal is a curious material phase that organizes a substance’s molecules in a crystalline form yet allows them to move fluidly like water. Observed since the nineteenth century, this phase has been a deep curiosity to science and, in more recent times, the key to a new era of media technology. In between that time, as Leslie shows, it has figured in cultural forms from Romantic landscape painting to snow globes, from mountaineering to eco-disasters, and from touchscreen devices to DNA. Expertly written but accessible, Liquid Crystals recounts the unheralded but hugely significant emergence of this unique form of matter.
 

Walter Benjamin’s 1931 essay “A Short History of Photography” is a landmark in the understanding and criticism of the medium, offering surprising new takes on such photographic pioneers as David Octavius Hill and Nicéphore Niépce and their aesthetic and technical achievements.
           
On Photography presents a new translation of that essay along with a number of other writings by Benjamin, some of them presented in English for the first time. Translator and editor Esther Leslie sets Benjamin’s work in context with prefaces to each piece and contributes a substantial introduction that considers Benjamin’s engagement with photography in all its forms, including early commercial studio photography, the uses of photography in science, and much more. 

This revealing study considers the remarkable alliance between chemistry and art from the late eighteenth century to the period immediately following the Second World War. Synthetic Worlds offers fascinating new insights into the place of the material object and the significance of the natural, the organic, and the inorganic in Western aesthetics.

Esther Leslie considers how radical innovations in chemistry confounded earlier alchemical and Romantic philosophies of science and nature while profoundly influencing the theories that developed in their wake. She also explores how advances in chemical engineering provided visual artists with new colors, surfaces, coatings, and textures, thus dramatically recasting the way painters approached their work. Ranging from Goethe to Hegel, Blake to the Bauhaus, Synthetic Worlds ultimately considers the astonishing affinities between chemistry and aesthetics more generally. As in science, progress in the arts is always assured, because the impulse to discover is as immutable and timeless as the drive to create.