His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    Her keen eye and vivid writing have reinforced to readers how important architecture is and why it continues to be both controversial and fascinating.In her new book--which gathers together the best of her writing, from one of her first pieces in the New York Times in 1962 on le Corbusier's Carpenter Center at Harvard, to essays in the New York Review of Books, to more recent writing in the Wall Street Journal--Huxtable bears witness to some of the twentieth century's best--and worst--architectural masters and projects.With a perspective of more than four decades, Huxtable examines the century's modernist beginnings and then turns her critic's eye to the seismic shift in style, function, and fashion that occurred midcentury--all leading to a dramatic new architecture of the twenty-first century. Much of the writing in On Architecture has never appeared in book form before, and Huxtable's many admirers will be delighted to once again have access to her elegant, impassioned opinions, insights, and wisdom."Looking back, I realize that my career covered an extraordinary period of change, that I was writing at a time in which architecture was changing slowly but radically--a time when everything about modernism was being incrementally questioned and rejected as we moved into a new kind of thinking and building." And while it was a quiet, nearly stealth revolution, it was a absolutely a revolution in which the past was reaccepted and reincorporated, periods and styles ignored by modernism were reexamined and reevaluated. History and theory, once considered irrelevant, became central to the practice of architecture again."

    It promised to shed light on the deep mysteries of consciousness, as well as offer relief to addicts and the mentally ill. But in the 1960s, with the vicious backlash against the counter-culture, all further research was banned. In recent years, however, work has quietly begun again on the amazing potential of LSD, psilocybin and DMT. Could these drugs in fact improve the lives of many people? Diving deep into this extraordinary world and putting himself forward as a guinea-pig, Michael Pollan has written a remarkable history of psychedelics and a compelling portrait of the new generation of scientists fascinated by the implications of these drugs. How to Change Your Mind is a report from what could very well be the future of human consciousness.

    It's no wonder; the philosophy and its embrace of self-mastery, virtue, and indifference to that which we cannot control is as urgent today as it was in the chaos of the Roman Empire. In Lives of the Stoics, Holiday and Hanselman present the fascinating lives of the men and women who strove to live by the timeless Stoic virtues of Courage. Justice. Temperance. Wisdom. Organized in digestible, mini-biographies of all the well-known--and not so well-known--Stoics, this book vividly brings home what Stoicism was like for the people who loved it and lived it, dusting off powerful lessons to be learned from their struggles and successes. More than a mere history book, every example in these pages, from Epictetus to Marcus Aurelius--slaves to emperors--is designed to help the reader apply philosophy in their own lives. Holiday and Hanselman unveil the core values and ideas that unite figures from Seneca to Cato to Cicero across the centuries. Among them are the idea that self-rule is the greatest empire, that character is fate; how Stoics benefit from preparing not only for success, but failure; and learn to love, not merely accept, the hand they are dealt in life. A treasure of valuable insights and stories, this book can be visited again and again by any reader in search of inspiration from the past.

    Winner of the National Book Award. “One of the major works of scholarship of the twentieth century” (Christian Science Monitor). Index; illustrations.

    Why do we recognize patterns? Is there such a thing as positive stress? Are we genetically programmed to be in conflict with each other? Those are just some of the 150 questions that the world's best scientific minds answer with elegant simplicity.With contributions from Jared Diamond, Richard Dawkins, Nassim Taleb, Brian Eno, Steven Pinker, and more, everything is explained in fun, uncomplicated terms that make the most complex concepts easy to comprehend.

    But what if the two are inextricably linked, equal partners in meaning-making? Written and drawn entirely as comics, Unflattening is an experiment in visual thinking. Nick Sousanis defies conventional forms of scholarly discourse to offer readers both a stunning work of graphic art and a serious inquiry into the ways humans construct knowledge.Unflattening is an insurrection against the fixed viewpoint. Weaving together diverse ways of seeing drawn from science, philosophy, art, literature, and mythology, it uses the collage-like capacity of comics to show that perception is always an active process of incorporating and reevaluating different vantage points. While its vibrant, constantly morphing images occasionally serve as illustrations of text, they more often connect in nonlinear fashion to other visual references throughout the book. They become allusions, allegories, and motifs, pitting realism against abstraction and making us aware that more meets the eye than is presented on the page.In its graphic innovations and restless shape-shifting, Unflattening is meant to counteract the type of narrow, rigid thinking that Sousanis calls “flatness.” Just as the two-dimensional inhabitants of Edwin A. Abbott’s novella Flatland could not fathom the concept of “upwards,” Sousanis says, we are often unable to see past the boundaries of our current frame of mind. Fusing words and images to produce new forms of knowledge, Unflattening teaches us how to access modes of understanding beyond what we normally apprehend.

    . . . A masterpiece.” —Margaret Atwood“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster WallaceBy now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. This book is even more necessary today than when it first appeared.An illuminating and transformative book, and completely original in its view of the world, The Gift is cherished by artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages.

    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.

    There was nothing new in this. What was new was the virtual absence of any political will to do anything about it. Spaces of Hope takes issue with this.David Harvey brings an exciting perspective to two of the principal themes of contemporary social discourse: globalization and the body. Exploring the uneven geographical development of late-twentieth-century capitalism, and placing the working body in relation to this new geography, he finds in Marx's writings a wealth of relevant analysis and theoretical insight. In order to make much-needed changes, Harvey maintains, we need to become the architects of a different living and working environment and to learn to bridge the micro-scale of the body and the personal and the macro-scale of global political economy.Utopian movements have for centuries tried to construct a just society. Harvey looks at their history to ask why they failed and what the ideas behind them might still have to offer. His devastating description of the existing urban environment (Baltimore is his case study) fuels his argument that we can and must use the force of utopian imagining against all who say "there is no alternative." He outlines a new kind of utopian thought, which he calls dialectical utopianism, and refocuses our attention on possible designs for a more equitable world of work and living with nature. If any political ideology or plan is to work, he argues, it must take account of our human qualities. Finally, Harvey dares to sketch a very personal utopian vision in an appendix, one that leaves no doubt about his own geography of hope.

    When I was sixteen, I had a mental breakdown. It happened while I was on vacation in the Caribbean with my family. I’d been reading an old Zen book, and it did me in. I’d experienced some strange mental states before, but this was different. As I read this book, death moved to the foreground of all my thoughts—and then stayed there. I found myself in a tropical paradise, terrified. Living seemed too cruel to carry on with. Buddha had said all life was suffering and all that meant was that everything was hopeless. There was no way out. Escape was impossible. When you looked at things soberly, it was obvious. Life, inevitably, was really just suffering and death. I kept this anxiety to myself as best I could. There was nothing to say anyway. No one could help. I was helpless, mortified, but aware that I was unable to do anything about it. The stress began to wear on my body. It felt worse and worse. I would have killed myself right there if death didn’t scare me even more than life. I reasoned if I killed myself at least this particular suffering would be over. These feelings peaked and then went on, and on, and on. At some point, I took a drive with my family to a beach on the other side of the island. It was bad. My insides felt as if they were being torn out. I didn’t understand what was happening. I felt like vomiting but couldn’t. Finally, we arrived at the beach. I sat under a tree, in the shade, trying to act sane. And then I thought I died. Something happened and then nothing. And then there was something again. I don’t know. Was I dead? I looked around and realized I wasn’t. I was on the beach, under a tree. But there was no “I.” Everything was different. Everything had dropped off. Where was “I”? I didn’t exist. What was happening? What was this? It was indescribable. You couldn’t describe this. Any description was pointless. Everything was perfect just as it was, but at the same time, it wasn’t that. Because there was no everything. There was nothing at all. There was no need to describe anything ever again because there was nothing. Words and description were meaningless. Nothing was real. Nothing mattered! And this was, undoubtedly, the best news possible. The greatest realization I could wish to have. Yet that couldn’t begin to explain how good this was. It was way beyond any conception I could come up with. Everything, and everybody, was saved. That was clear. Everything was fine—now and forever. Nothing needed to be done, ever. The whole thing—life, death, reality, individuality, good, bad, right, wrong—was a lie. An illusion. A sham. Everything just was—just is. And this was perfection, beyond any belief, rationalization or label I could ever put on it. It made no sense, and it was perfect. It was before time itself. It transcended thought, was past my comprehension. Thought created all this suffering—and thought itself was not real. Without thought, all was grace—always. It was all blissfully and blatantly simple, yet totally illogical. I sat on that beach, thunderstruck. It was laughable. Whatever you thought, it didn’t matter. Thought had nothing to do with anything real. Everything was always perfect, no matter what you thought…

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    She finds that the clubs provide an intermediate space—not work, not home—where men can enjoyably experience their bodies and selves through conversation, fantasy, and ritualized voyeurism. At the same time, she shows how the dynamics of male pleasure and privilege in strip clubs are intertwined with ideas about what it means to be a man in contemporary America.Frank’s ethnography draws on her work as an exotic dancer in five clubs, as well as on her interviews with over thirty regular customers—middle-class men in their late-twenties to mid-fifties. Reflecting on the customers’ dual desires for intimacy and visibility, she explores their paradoxical longings for "authentic" interactions with the dancers, the ways these aspirations are expressed within the highly controlled and regulated strip clubs, and how they relate to beliefs and fantasies about social class and gender. She considers how regular visits to strip clubs are not necessarily antithetical to marriage or long-term heterosexual relationships, but are based on particular beliefs about marriage and monogamy that make these clubs desirable venues. Looking at the relative "classiness" of the clubs where she worked—ranging from the city’s most prestigious clubs to some of its dive bars—she reveals how the clubs are differentiated by reputations, dress codes, cover charges, locations, and clientele, and describes how these distinctions become meaningful and erotic for the customers. Interspersed throughout the book are three fictional interludes that provide an intimate look at Frank’s experiences as a stripper—from the outfits to the gestures, conversations, management, coworkers, and, of course, the customers.Focusing on the experiences of the male clients, rather than those of the female sex workers, G-Strings and Sympathy provides a nuanced, lively, and tantalizing account of the stigmatized world of strip clubs.

    Examining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today--and to the life of any person seeking a fully realized existence.Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world. It is a must-have resource for both experienced students of mythology and the explorer just beginning to approach myth as a source of knowledge.

    Pieper shows that the Greeks understood and valued leisure, as did the medieval Europeans. He points out that religion can be born only in leisure - a leisure that allows time for the contemplation of the nature of God. Leisure has been, and always will be, the first foundation of any culture.He maintains that our bourgeois world of total labor has vanquished leisure, and issues a startling warning: Unless we regain the art of silence and insight, the ability for nonactivity, unless we substitute true leisure for our hectic amusements, we will destroy our culture - and ourselves.These astonishing essays contradict all our pragmatic and puritanical conceptions about labor and leisure; Josef Pieper demolishes the twentieth-century cult of "work" as he predicts its destructive consequences.