From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums.Finalist for the 2002 National Book Critics Circle Award.

    Following the Industrial Revolution, civilized societies remade nineteenth-century capitalism into a more humane version of itself, and Keen shows how we can do the same in the wake of the Digital Revolution.As consensus builds around the importance of making sure the Internet remains a force for good, we need a road map of what actions we can take to ensure that the Internet works for us, and not the other way around. Keen identifies five broad strategies to tackle the digital future: competitive innovation, government regulation, consumer choice, social responsibility by business leaders, and education. Traveling the world in order to identify best (and worst) practices in these five areas, Keen moves from Estonia, where tech giants are forming a model for Internet governance, to Germany, whose automobile titans are navigating the future of self-driving cars, to Scandinavia, Korea, and, of course, Silicon Valley. Powerfully argued and deeply engaging, How to Fix the Future provides hope that the future may yet become something that we can look forward to.

    

    In this extended interview, Getlen spoke to Carlin about all the subjects above and more, finding the veteran comic, who changed the way comedians approach the art of stand-up comedy several times over the course of his remarkable fifty-year career, to be even more intelligent and contemplative than one might expect. Carlin never shied away from difficult subjects, answering every question as if he had been mulling over the topic at hand for years before reaching his well-stated conclusion. Conversations with Carlin highlights the comedian’s anti-authoritarian views - what he would refer to as his “outsidership” - on almost every page, and features his extensive thoughts on the topics most closely associated with him, comedy and words. But the book also presents sides of the man that his fans have rarely, if ever, seen before, as he discusses topics like the importance to him of romantic love - George was with the same woman for almost four decades, until her death in 1997 - and the conditions under which he would put his life on the line and go off to war. Conversations with Carlin will be a revelation for longtime fans, providing one of the most in-depth looks yet at this brilliant comedy icon, while also serving as the perfect introduction for those just now discovering George Carlin and his vast influence on the comedy world. ABOUT THE AUTHOR Larry Getlen is a veteran journalist who has written for TIME, Esquire, New York Magazine, Radar, and the New York Post. He’s also a comedy writer and former stand-up comedian who has appeared on “Chappelle’s Show,” and was once booed off-stage at the legendary Apollo Theater in Harlem. He lives in New York City. Follow him on Twitter @larrygetlen.

    Arguing that the processes creating the technium are akin to those of biological evolution, Kelly devotes the opening sections of his exposition to that analogy, maintaining that the technium exhibits a similar tendency toward self-organizing complexity. Having defined the technium, Kelly addresses its discontents, as expressed by the Unabomber (although Kelly admits to trepidation in taking seriously the antitechnology screeds of a murderer) and then as lived by the allegedly technophobic Amish. From his observations and discussions with some Amish people, Kelly extracts some precepts of their attitudes toward gadgets, suggesting folk in the secular world can benefit from the Amish approach of treating tools as servants of self and society rather than as out-of-control masters. Exploring ramifications of technology on human welfare and achievement, Kelly arrives at an optimistic outlook that will interest many, coming, as it does, from the former editor of Wired magazine."Gilbert Taylor, Booklist

    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.

    But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.

    It it impossible is to resist quoting passages from this novel, given the author’s brilliant insights into character, wonderful literary flourishes and stunning demonstration of what is meant by inspired writing." - Humber School for Writers. A savage, brilliant, hilarious attack on modern hypocrisy, "The God of Atheists" follows the downfall of three men who wake up one morning and decide to take what they have not earned. Al, a down-and-out music producer, bullies his handsome son into forming a boy-band. Alder, an obscure academic, steals a brilliant idea from a grad student. As they exploit the talents of the naïve youths around them, their fame and wealth increase – but they become more and more terrified of exposure and destruction...

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    In this deftly reasoned book, a columnist for The Financial Times and Slate argues that, despite the everyday insanity, life is logical after all, and he explores the surprisingly rational choices that shape the world.

    In MILLENNIUM, Hakim Bey both sustains and expands the ideas of his groundbreaking work, THE TEMPORARY AUTONOMOUS ZONE. Here, Bey suggests that mere detachment from (or even outright rejection of) the monolith of global capital is not enough; that either we accept ourselves as the 'last humans,' or else we accept ourselves as the opposition. The book also contains an illuminating interview with Bey, in which he discusses his body of work and assesses our collective position at the turn of the millennium.