But it was C. P. Snow's Rede lecture of 1959 that brought it to prominence and began a public debate that is still raging in the media today. This 50th anniversary printing of The Two Cultures and its successor piece, A Second Look (in which Snow responded to the controversy four years later) features an introduction by Stefan Collini, charting the history and context of the debate, its implications and its afterlife. The importance of science and technology in policy run largely by non-scientists, the future for education and research, and the problem of fragmentation threatening hopes for a common culture are just some of the subjects discussed.

    In this dazzling dialogue with Sylvere Lotringer, Paul Virilio for the first time displayed the whole range of his reflections on the effect of speed on our civilization and every one of them has been dramatically confirmed over the years. For Virilio, the foremost philosopher of speed, the "technical surprise" of World War I was the discovery that the wartime economy could not be sustained unless it was continued in peacetime. As a consequence, the distinction between war and peace ceased to apply, inaugurating the military-industrial complex and the militarization of science itself.Every new invention casts a long shadow that we are generally unwilling to acknowledge in the name of progress: the invention of automobiles inaugurated car-crashes; the invention of nuclear energy, Hiroshima and Tchernobyl. The technologies of instant communications have invented another kind of accident: the extermination of space and the derealization of time. Instant feedback is shrinking the planet to nothing, and "globalization" is its ultimate accident. First published in 1983, this book introduced Virilio's thinking to the United States. For successive generations of readers, it remains one of the most influential and far-reaching essays of our time.

    Its basic premise is that the only way out is the way through: to get beyond capitalism, we need to push its technologies to the point where they explode. This may be dubious as a political strategy, but it works as a powerful artistic program. Other authors have debated the pros and cons of accelerationist politics; No Speed Limit makes the case for an accelerationist aesthetics. Our present moment is illuminated, both for good and for ill, in the cracked mirror of science-fictional futurity.

    We like to think that we are in control of the future of "artificial" intelligence. The reality, though, is that we -- the everyday people whose data powers AI -- aren't actually in control of anything. When, for example, we speak with Alexa, we contribute that data to a system we can't see and have no input into -- one largely free from regulation or oversight. The big nine corporations -- Amazon, Google, Facebook, Tencent, Baidu, Alibaba, Microsoft, IBM and Apple--are the new gods of AI and are short-changing our futures to reap immediate financial gain. In this book, Amy Webb reveals the pervasive, invisible ways in which the foundations of AI -- the people working on the system, their motivations, the technology itself -- is broken. Within our lifetimes, AI will, by design, begin to behave unpredictably, thinking and acting in ways which defy human logic. The big nine corporations may be inadvertently building and enabling vast arrays of intelligent systems that don't share our motivations, desires, or hopes for the future of humanity. Much more than a passionate, human-centered call-to-arms, this book delivers a strategy for changing course, and provides a path for liberating us from algorithmic decision-makers and powerful corporations.

    Lisa Marie Cacho forcefully argues that the demands for personhood for those who, in the eyes of society, have little value, depend on capitalist and heteropatriarchal measures of worth.With poignant case studies, Cacho illustrates that our very understanding of personhood is premised upon the unchallenged devaluation of criminalized populations of color. Hence, the reliance of rights-based politics on notions of who is and is not a deserving member of society inadvertently replicates the logic that creates and normalizes states of social and literal death. Her understanding of inalienable rights and personhood provides us the much-needed comparative analytical and ethical tools to understand the racialized and nationalized tensions between racial groups. Driven by a radical, relentless critique, Social Death challenges us to imagine a heretofore "unthinkable" politics and ethics that do not rest on neoliberal arguments about worth, but rather emerge from the insurgent experiences of those negated persons who do not live by the norms that determine the productive, patriotic, law abiding, and family-oriented subject.

    But according to Robert W. McChesney, arguments on both sides fail to address the relationship between economic power and the Internet.McChesney’s award-winning Rich Media, Poor Democracy skewered the assumption that a society drenched in commercial information is a democratic one. In Digital Disconnect, McChesney returns to this provocative thesis in light of the advances of the digital age. He argues that the sharp decline in the enforcement of antitrust violations, the increase in patents on digital technology and proprietary systems and massive indirect subsidies and other policies have made the internet a place of numbing commercialism. A handful of monopolies now dominate the political economy, from Google, which garners a 97 percent share of the mobile search market, to Microsoft, whose operating system is used by over 90 percent of the world’s computers. Capitalism’s colonization of the Internet has spurred the collapse of credible journalism and made the internet an unparalleled apparatus for government and corporate surveillance and a disturbingly antidemocratic force.In Digital Disconnect, Robert McChesney offers a groundbreaking critique of the Internet, urging us to reclaim the democratizing potential of the digital revolution while we still can.

    Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.   In actual fact, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the accessibility of information, we’re living in a new Dark Age.   From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.   In his brilliant new work, leading artist and writer James Bridle excavates the limits of technology and how it aids our understanding of the world. Surveying the history of art, technology, and information systems, he explores the dark clouds that gather over our dreams of the digital sublime.

    But is it what you think it is?Because the Internet of Things is not about things on the internet. A world in which all our household gadgets can communicate with each other may sound vaguely useful, but it’s not really for us consumers. The Internet of Things serves the interests of the technology giants, in their epic wrangles with each other. And it is they who will turn the jargon of “smart cities” and “smart homes” into a self-fulfilling prophesy. In this piercing and provocative essay, Bruce Sterling tells the story of an idea that just won’t go away because there’s too much money to be made and a whole world to control.

    This book, the first of three volumes, revises the Aristotelian argument and develops an innovative assessment whereby the technical object can be seen as having an essential, distinct temporality and dynamics of its own.The Aristotelian concept persisted, in one form or another, until Marx, who conceived of the possibility of an evolution of technics. Lodged between mechanics and biology, a technical entity became a complex of heterogeneous forces. In a parallel development, while industrialization was in the process of overthrowing the contemporary order of knowledge as well as contemporary social organization, technology was acquiring a new place in philosophical questioning. Philosophy was for the first time faced with a world in which technical expansion was so widespread that science was becoming more and more subject to the field of instrumentality, with its ends determined by the imperatives of economic struggle or war, and with its epistemic status changing accordingly. The power that emerged from this new relation was unleashed in the course of the two world wars.Working his way through the history of the Aristotelian assessment of technics, the author engages the ideas of a wide range of thinkers—Rousseau, Husserl, and Heidegger, the paleo-ontologist Leroi-Gourhan, the anthropologists Vernant and Detienne, the sociologists Weber and Habermas, and the systems analysts Maturana and Varela.

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    Previously, writing had operated by way of symbolic mediation—all data had to pass through the needle's eye of the written signifier—but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers.Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.Gramophone, Film, Typewriter is, among other things, a continuation as well as a detailed elaboration of the second part of the author's Discourse Networks, 1800/1900 (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.

    No conversation about the dangers of technology and its unavoidable effects on society can begin without a careful reading of this book."A magnificent book . . . He goes through one human activity after another and shows how it has been technicized, rendered efficient, and diminished in the process."-Harper's"One of the most important books of the second half of the twentieth-century. In it, Jacques Ellul convincingly demonstrates that technology, which we continue to conceptualize as the servant of man, will overthrow everything that prevents the internal logic of its development, including humanity itself-unless we take necessary steps to move human society out of the environment that 'technique' is creating to meet its own needs."-The Nation"A description of the way in which technology has become completely autonomous and is in the process of taking over the traditional values of every society without exception, subverting and suppressing these values to produce at last a monolithic world culture in which all non-technological difference and variety are mere appearance."-Los Angeles Free Press

    While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an "immaterialist" method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of 'actor-network theory'. In an extended discussion of Leibniz's famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through 'what it is' or 'what it does', but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis.This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

    But what exactly does it mean, and why has it emerged as such a vital lens through which to explore how social inequalities of race, class, gender, sexuality, age, ability and ethnicity shape one another?In this new book Patricia Hill Collins and Sirma Bilge provide a much-needed, introduction to the field of intersectional knowledge and praxis. They analyze the emergence, growth and contours of the concept and show how intersectional frameworks speak to topics as diverse as human rights, neoliberalism, identity politics, immigration, hip hop, global social protest, diversity, digital media, Black feminism in Brazil, violence and World Cup soccer. Accessibly written and drawing on a plethora of lively examples to illustrate its arguments, the book highlights intersectionality's potential for understanding inequality and bringing about social justice oriented change.Intersectionality will be an invaluable resource for anyone grappling with the main ideas, debates and new directions in this field.

    Given the rapid pace of progress in AI, many predict that it could advance to human-level intelligence within the next several decades. From there, it could quickly outpace human intelligence. What do these developments mean for the future of the mind?In Artificial You, Susan Schneider says that it is inevitable that AI will take intelligence in new directions, but urges that it is up to us to carve out a sensible path forward. As AI technology turns inward, reshaping the brain, as well as outward, potentially creating machine minds, it is crucial to beware. Homo sapiens, as mind designers, will be playing with tools they do not understand how to use: the self, the mind, and consciousness. Schneider argues that an insufficient grasp of the nature of these entities could undermine the use of AI and brain enhancement technology, bringing about the demise or suffering of conscious beings. To flourish, we must grasp the philosophical issues lying beneath the algorithms.At the heart of her exploration is a sober-minded discussion of what AI can truly achieve: Can robots really be conscious? Can we merge with AI, as tech leaders like Elon Musk and Ray Kurzweil suggest? Is the mind just a program? Examining these thorny issues, Schneider proposes ways we can test for machine consciousness, questions whether consciousness is an unavoidable byproduct of sophisticated intelligence, and considers the overall dangers of creating machine minds.