In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.

    Simondon’s prolific intellectual curiosity led his philosophical and scientific reflections to traverse a variety of areas of research, including philosophy, psychology, the beginnings of cybernetics, and the foundations of religion. For Simondon, the human/machine distinction is perhaps not a simple dichotomy. There is much we can learn from our technical objects, and while it has been said that humans have an alienating rapport with technical objects, Simondon takes up the task of a true thinker who sees the potential for humanity to uncover life-affirming modes of technical objects whereby we can discover potentiality for novel, healthful, and dis-alienating rapports with them. For Simondon, by way of studying its genesis, one must grant to the technical object the same ontological status as that of the aesthetic object or even a living being. His work thus opens up exciting new entry points into studying the human’s rapport with its continually changing technical reality. This first complete English-language translation of Gilbert Simondon’s groundbreaking and influential work finally presents to Anglophone readers one of the pinnacle works of France’s most unique thinkers of technics.

    Automation, rather than undermining an economy built on full employment, is instead the path to a world of liberty, luxury and happiness—for everyone. Technological advance will reduce the value of commodities—food, healthcare and housing—towards zero.Improvements in renewable energies will make fossil fuels a thing of the past. Asteroids will be mined for essential minerals. Genetic editing and synthetic biology will prolong life, virtually eliminate disease and provide meat without animals. New horizons beckon.In Fully Automated Luxury Communism, Aaron Bastani conjures a vision of extraordinary hope, showing how we move to energy abundance, feed a world of 9 billion, overcome work, transcend the limits of biology, and establish meaningful freedom for everyone. Rather than a final destination, such a society merely heralds the real beginning of history.

    Lasch’s identification of narcissism as not only an individual ailment but also a burgeoning social epidemic was groundbreaking. His diagnosis of American culture is even more relevant today, predicting the limitless expansion of the anxious and grasping narcissistic self into every part of American life.The Culture of Narcissism offers an astute and urgent analysis of what we need to know in these troubled times.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    That source turned out to be the twenty-nine-year-old NSA contractor Edward Snowden, and his revelations about the agency's widespread, systemic overreach proved to be some of the most explosive and consequential news in recent history, triggering a fierce debate over national security and information privacy.Now Greenwald fits all the pieces together, recounting his high-intensity eleven-day trip to Hong Kong, examining the broader implications of the surveillance detailed in his reporting for The Guardian, and revealing fresh information on the NSA's unprecedented abuse of power with documents from the Snowden archive. Fearless and incisive, No Place to Hide has already sparked outrage around the globe and been hailed by voices across the political spectrum as an essential contribution to our understanding of the U.S. surveillance state.

    Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

    It’s time we stand face-to-digital-face with the true powers and limitations of the algorithms that already automate important decisions in healthcare, transportation, crime, and commerce. Hello World is indispensable preparation for the moral quandaries of a world run by code, and with the unfailingly entertaining Hannah Fry as our guide, we’ll be discussing these issues long after the last page is turned.

    Can small artists still thrive in the Internet era? Can giant record labels avoid alienating their audiences? This is a book about the pitfalls and the opportunities that creative industries (and individuals) are confronting today — about how the old models have failed or found new footing, and about what might soon replace them. An essential read for anyone with a stake in the future of the arts, Information Doesn’t Want to Be Free offers a vivid guide to the ways creativity and the Internet interact today, and to what might be coming next.

    Digital technology empowers us as never before, yet it has unforeseen consequences as well. Potentially humiliating content on Facebook is enshrined in cyberspace for future employers to see. Google remembers everything we've searched for and when. The digital realm remembers what is sometimes better forgotten, and this has profound implications for us all.In Delete, Viktor Mayer-Sch�nberger traces the important role that forgetting has played throughout human history, from the ability to make sound decisions unencumbered by the past to the possibility of second chances. The written word made it possible for humans to remember across generations and time, yet now digital technology and global networks are overriding our natural ability to forget--the past is ever present, ready to be called up at the click of a mouse. Mayer-Sch�nberger examines the technology that's facilitating the end of forgetting--digitization, cheap storage and easy retrieval, global access, and increasingly powerful software--and describes the dangers of everlasting digital memory, whether it's outdated information taken out of context or compromising photos the Web won't let us forget. He explains why information privacy rights and other fixes can't help us, and proposes an ingeniously simple solution--expiration dates on information--that may.Delete is an eye-opening book that will help us remember how to forget in the digital age.

    It is, as Michael Hardt and Antonio Negri demonstrate in this bold work, the new political order of globalization. It is easy to recognize the contemporary economic, cultural, and legal transformations taking place across the globe but difficult to understand them. Hardt and Negri contend that they should be seen in line with our historical understanding of Empire as a universal order that accepts no boundaries or limits. Their book shows how this emerging Empire is fundamentally different from the imperialism of European dominance and capitalist expansion in previous eras. Rather, today's Empire draws on elements of U.S. constitutionalism, with its tradition of hybrid identities and expanding frontiers. Empire identifies a radical shift in concepts that form the philosophical basis of modern politics, concepts such as sovereignty, nation, and people. Hardt and Negri link this philosophical transformation to cultural and economic changes in postmodern society--to new forms of racism, new conceptions of identity and difference, new networks of communication and control, and new paths of migration. They also show how the power of transnational corporations and the increasing predominance of postindustrial forms of labor and production help to define the new imperial global order. More than analysis, Empire is also an unabashedly utopian work of political philosophy, a new Communist Manifesto. Looking beyond the regimes of exploitation and control that characterize today's world order, it seeks an alternative political paradigm--the basis for a truly democratic global society.

    None of these attempts succeeded, and the enterprise had been abandoned by the time the Soviet Union fell apart. Meanwhile, ARPANET, the American precursor to the Internet, went online in 1969. Why did the Soviet network, with top-level scientists and patriotic incentives, fail while the American network succeeded? In How Not to Network a Nation, Benjamin Peters reverses the usual cold war dualities and argues that the American ARPANET took shape thanks to well-managed state subsidies and collaborative research environments and the Soviet network projects stumbled because of unregulated competition among self-interested institutions, bureaucrats, and others. The capitalists behaved like socialists while the socialists behaved like capitalists.After examining the midcentury rise of cybernetics, the science of self-governing systems, and the emergence in the Soviet Union of economic cybernetics, Peters complicates this uneasy role reversal while chronicling the various Soviet attempts to build a “unified information network.” Drawing on previously unknown archival and historical materials, he focuses on the final, and most ambitious of these projects, the All-State Automated System of Management (OGAS), and its principal promoter, Viktor M. Glushkov. Peters describes the rise and fall of OGAS—its theoretical and practical reach, its vision of a national economy managed by network, the bureaucratic obstacles it encountered, and the institutional stalemate that killed it. Finally, he considers the implications of the Soviet experience for today's networked world.

    A malicious online rumor costs a company millions. A political sideshow derails the national news cycle and destroys a candidate. Some product or celebrity zooms from total obscurity to viral sensation. What you don't know is that someone is responsible for all this. Usually, someone like me.I'm a media manipulator. In a world where blogs control and distort the news, my job is to control blogs--as much as any one person can. In today's culture... 1) Blogs like "Gawker," "Buzzfeed" and the "Huffington Post" drive the media agenda. 2) Bloggers are slaves to money, technology, and deadlines. 3) Manipulators wield these levers to shape everything you read, see and watch--online and off.Why am I giving away these secrets? Because I'm tired of a world where blogs take indirect bribes, marketers help write the news, reckless journalists spread lies, and no one is accountable for any of it. I'm pulling back the curtain because I don't want anyone else to get blindsided. I'm going to explain exactly how the media "really" works. What you choose to do with this information is up to you.

    Bruno Latour's contention is that the word "social" as used by Social Scientists has become laden with assumptions to the point where it has become a misnomer. When the adjective is applied to a phenomenon, it is used to indicate a stabilized state of affairs, a bundle of ties that in due course may be used to account for another phenomenon. Latour also finds the word used as if it described a type of material, in a comparable way to an adjective such as "wooden" or "steely".Rather than simply indicating what is already assembled together, it is now used in a way that makes assumptions about the nature of what is assembled. It has become a word that designates two distinct things: a process of assembling: and a type of material, distinct from others. Latour shows why "the social" cannot be thought of as a kind of material or domain, and disputes attempts to provide a "social explanation" of other states of affairs. While these attempts have been productive (and probably necessary) in the past, the very success of the social sciences mean that they are largely no longer so. At the present stage it is no longer possible to inspect the precise constituents entering the social domain. Latour returns to the original meaning of "the social" to redefine the notion and allow it to trace connections again. It will then be possible to resume the traditional goal of the social sciences, but using more refined tools. Drawing on his extensive work examining the "assemblages" of nature, Latour finds it necessary to scrutinize thoroughly the exact content of what is assembled under the umbrella of Society. This approach, a "sociology of associations" has become known as Actor-Network-Theory, and this book is an essential introduction both for those seeking to understand Actor-Network-Theory, or the ideas of one of its most influential proponents.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.