Short-term, community-based projects—from pop-up parks to open streets initiatives—have become a powerful and adaptable new tool of urban activists, planners, and policy-makers seeking to drive lasting improvements in their cities and beyond. These quick, often low-cost, and creative projects are the essence of the Tactical Urbanism movement. Whether creating vibrant plazas seemingly overnight or re-imagining parking spaces as neighborhood gathering places, they offer a way to gain public and government support for investing in permanent projects, inspiring residents and civic leaders to experience and shape urban spaces in a new way.  Tactical Urbanism, written by Mike Lydon and Anthony Garcia, two founders of the movement, promises to be the foundational guide for urban transformation. The authors begin with an in-depth history of the Tactical Urbanism movement and its place among other social, political, and urban planning trends. A detailed set of case studies, from guerilla wayfinding signs in Raleigh, to pavement transformed into parks in San Francisco, to a street art campaign leading to a new streetcar line in El Paso, demonstrate the breadth and scalability of tactical urbanism interventions. Finally, the book provides a detailed toolkit for conceiving, planning, and carrying out projects, including how to adapt them based on local needs and challenges.  Tactical Urbanism will inspire and empower a new generation of engaged citizens, urban designers, land use planners, architects, and policymakers to become key actors in the transformation of their communities.

    An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

    did for crafters, this book will teach all types of creatives illustrators, photographers, graphic designers, animators, and more how to build a successful business doing what they love. Freelancing pros Meg Mateo Ilasco and Joy Deangdeelert Cho explain everything from creating a standout portfolio to navigating the legal issues of starting a business. Accessible, spunky, and packed with practical advice, Creative, Inc. is an essential for anyone ready to strike out on their own.

     Universal Methods of Design serves as an invaluable compendium of methods that can be easily referenced and used by cross-disciplinary teams in nearly any design project.   Methods and techniques are organized alphabetically for ongoing, quick reference. Each method is presented in a two-page format. The left-hand page contains a concise description of the method, accompanied by references for further reading. On the right-hand page, images and cases studies for each method are presented visually. The relevant phases for design application are highlighted as numbered icons along the right side of the page, from phases 1 (planning) through 5 (launch and monitor).Build more meaningful products with these methods and more: A/B Testing, Affinity Diagramming, Behavioral Mapping, Bodystorming, Contextual Design, Critical Incident Technique, Directed Storytelling, Flexible Modeling, Image Boards, Graffiti Walls, Heuristic Evaluation, Parallel Prototyping, Simulation Exercises, Touchstone Tours, and Weighted Matrix.  This essential guide:Dismantles the myth that user research methods are complicated, expensive, and time-consumingCreates a shared meaning for cross-disciplinary design teamsIllustrates methods with compelling visualizations and case studiesCharacterizes each method at a glanceIndicates when methods are best employed to help prioritize appropriate design research strategiesUniversal Methods of Design is an essential resource for designers of all levels and specializations.

    From Catalonia to the Crimea, and from Africa's last colony to the European republic that enjoyed just a solitary day of independence, the places in this book may lie on the margins of legitimacy, but all can be visited in the real world.Beautifully illustrated by fifty regional maps, each shadowy country is literally cut out of the page of this book. Alongside stories, facts and figures, this Atlas brings to life a dreamlike world of nations that exist only in the minds of the people who live there.

    Rarely have art and politics been put to such fine, and overtly public, use. Mix the irony and juxtaposition of John Yates with the beauty of the finest aerosol art, and you'll have some idea of how good this really is. The reproductions are interspersed with an excellent array of quotes, statements, letters and a beginners guide to painting with stencils. Very, very good.

    Yet writers looking for guidance on reporting and writing true stories have had few places to turn for advice. Now in Storycraft, Jack Hart, a former managing editor of the Oregonian who guided several Pulitzer Prize–winning narratives to publication, delivers what will certainly become the definitive guide to the methods and mechanics of crafting narrative nonfiction.Hart covers what writers in this genre need to know, from understanding story theory and structure, to mastering point of view and such basic elements as scene, action, and character, to drafting, revising, and editing work for publication. Revealing the stories behind the stories, Hart brings readers into the process of developing nonfiction narratives by sharing tips, anecdotes, and recommendations he forged during his decades-long career in journalism. From there, he expands the discussion to other well-known writers to show the broad range of texts, styles, genres, and media to which his advice applies. With examples that draw from magazine essays, book-length nonfiction narratives, documentaries, and radio programs, Storycraft will be an indispensable resource for years to come.

    R. R. Tolkien’s fictional universe is as vast as the human imagination, so an atlas is a helpful tool to get around. Consider this book your navigational guide to Middle-earth and the Undying Lands. Maps, images, and vivid descriptions in full color create an enchanting reference to all the fantastical places and creatures that sprung from Tolkien’s mind. The deluxe, heat-burnished cover makes this a charming addition to your Tolkien library.

    There, it's said " Maps not only show the world, they help it turn. On an average day, we will consult some form of map approximately a dozen times, often without even noticing: checking the A-Z, the road atlas, or the Sat Nav, scanning the tube or bus map, a quick Google online, or hours wasted flying over a virtual Earth, navigating a way around a shopping center, watching the weather forecast, planning a walk or a trip, catching up on the news, booking a holiday or hotel. Maps pepper logos, advertisements, illustrations, books, web pages, and newspaper and magazine articles: they are a cipher for every area of human existence. At a stroke, they convey precise information about topography, layout, history, politics, and power. They are the unsung heroes of life, and this guide sings their song. There are some fine, dry tomes out there about the history and development of cartography: this is not one of them. This exploration mixes wry observation with hard fact and considerable research, unearthing the offbeat, the unusual, and the downright pedantic in a celebration of all things maps. In "Map Addict," we learn the location of what has officially been named by the OS as the most boring square kilometer in the land; we visit the town fractured into dozens of little parcels of land split between two different countries and trek around many other weird borders of Britain and Europe; we test the theories that the new city of Milton Keynes was built to a pagan alignment and that women can't read maps. Combining history, travel, politics, memoir, and oblique observation in a highly readable, and often very funny, style, Mike Parker confesses how his own impressive map collection was founded on a virulent teenage shoplifting habit, ponders how a good leftie can be so gung-ho about British cartographic imperialism, and wages a one-man war against the moronic blandishments of the Sat Nav age.

    Now, in his first book, written more than two decades after the web was created, Lanier offers this provocative and cautionary look at the way it is transforming our lives for better and for worse.The current design and function of the web have become so familiar that it is easy to forget that they grew out of programming decisions made decades ago. The web’s first designers made crucial choices (such as making one’s presence anonymous) that have had enormous—and often unintended—consequences. What’s more, these designs quickly became “locked in,” a permanent part of the web’s very structure. Lanier discusses the technical and cultural problems that can grow out of poorly considered digital design and warns that our financial markets and sites like Wikipedia, Facebook, and Twitter are elevating the “wisdom” of mobs and computer algorithms over the intelligence and judgment of individuals. Lanier also shows:How 1960s antigovernment paranoia influenced the design of the online world and enabled trolling and trivialization in online discourseHow file sharing is killing the artistic middle class;How a belief in a technological “rapture” motivates some of the most influential technologistsWhy a new humanistic technology is necessary. Controversial and fascinating, You Are Not a Gadget is a deeply felt defense of the individual from an author uniquely qualified to comment on the way technology interacts with our culture.

    The physical design of our homes, neighborhoods and communities shapes every aspect of our live, yet where architects are most desperately needed, they can least be afforded. Design Like You Give a Damn is a compendium of innovative projects from around the world that demonstrate the power of design to improve lives. It offers a history of the movement toward socially conscious design, and showcases more than 80 contemporary solutions to such urgent needs as basic shelter, healthcare, education and access to clean water, energy and sanitation.

    On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing. Using his own experience as an electrician and mechanic, Crawford presents a wonderfully articulated call for self-reliance and a moving reflection on how we can live concretely in an ever more abstract world.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    The average young person in the UK will spend 10,000 hours gaming by the age of twenty-one. What's causing this mass exodus? According to world-renowned game designer Jane McGonigal the answer is simple: videogames are fulfilling genuine human needs. Drawing on positive psychology, cognitive science and sociology, Reality is Broken shows how game designers have hit on core truths about what makes us happy, and utilized these discoveries to astonishing effect in virtual environments. But why, McGonigal asks, should we use the power of games for escapist entertainment alone? In this groundbreaking exploration of the power and future of gaming, she reveals how gamers have become expert problem solvers and collaborators, and shows how we can use the lessons of game design to socially positive ends, be it in our own lives, our communities or our businesses. Written for gamers and non-gamers alike, Reality is Broken sends a clear and provocative message: the future will belong to those who can understand, design and play games.

    More than 27 million visitors entered the grounds (now Jackson Park) to marvel at the exhibits and displays housed in some 200 buildings, including those of 79 foreign governments and 38 states. Although the Fair had its share of "firsts" (original Ferris wheel, first midway, Edison's kinetoscope, etc.), its chief marvel was its architecture. It is that aspect which is emphasized in this striking photographic record. Beginning with an overview of the fair's planning and conceptual stages, Stanley Appelbaum's well-researched text then proceeds to a fascinating discussion of the personalities, regional rivalries, and intense controversy surrounding the Beaux-Arts architecture (the "White City" style) of the fair, including its enormous impact on subsequent American architecture. The contributions of such outstanding architects and firms as R. M. Hunt; McKim, Mead and White; Frederick Law Olmsted; and Peabody and Stearns are described. The book then becomes a building-by-building walking tour of the fair — imaginatively reconstructed with the help of 128 sharply reproduced rare contemporary photographs, printed on fine coated stock, and a concise, fact-filled text. The placid basins, ponds, and Lagoon that graced the fairgrounds lend a serene aura to these priceless views of the great buildings and sights of the fair: the Beaux-Arts glories of the Administration and Agriculture Buildings; Daniel Chester French's statue of the Republic; the Columbian Fountain by Frederick MacMonnies; the Golden Door of Louis Sullivan's Transportation Building; the Peristyle; Mary Cassatt's mural in the Woman's Building; the pure classicism of the Palace of Fine Arts (now the Museum of Science and Industry); numerous state and foreign pavilions, and of course, the Midway — the first separate amusement area at a World's Fair, and the reputed location of Little Egypt's celebrated danse du ventre. In the concluding section, the author touches on other memorable aspects of the fair and its times: the Panic of 1893; the Pullman Strike; famous visitors (Archduke Ferdinand, the Spanish Infanta, etc.); cultural and social congresses, and finally, the disastrous fires that ultimately destroyed many of the buildings. For social and cultural historians, Chicagoans, and anyone interested in the special magic of a world's fair, this book is a loving and nostalgic look back — to a time bathed in the golden light of the fin-de-siècle years, when a colossal spectacle of human achievement in art, science, and industry captured the world's attention for one magic and unforgettable moment.