Here, distinguished Italian philosopher Giorgio Agamben uses such circumstances to argue that this unusual extension of power, or "state of exception," has historically been an underexamined and powerful strategy that has the potential to transform democracies into totalitarian states.The sequel to Agamben's Homo Sacer: Sovereign Power and Bare Life, State of Exception is the first book to theorize the state of exception in historical and philosophical context. In Agamben's view, the majority of legal scholars and policymakers in Europe as well as the United States have wrongly rejected the necessity of such a theory, claiming instead that the state of exception is a pragmatic question. Agamben argues here that the state of exception, which was meant to be a provisional measure, became in the course of the twentieth century a normal paradigm of government. Writing nothing less than the history of the state of exception in its various national contexts throughout Western Europe and the United States, Agamben uses the work of Carl Schmitt as a foil for his reflections as well as that of Derrida, Benjamin, and Arendt.In this highly topical book, Agamben ultimately arrives at original ideas about the future of democracy and casts a new light on the hidden relationship that ties law to violence.

    Wilson’s view? Recording observations in the field is an indispensable scientific skill, but researchers are not generally willing to share their personal records with others. Here, for the first time, are reproductions of actual pages from notebooks. And in essays abounding with fascinating anecdotes, the authors reflect on the contexts in which the notes were taken.Covering disciplines as diverse as ornithology, entomology, ecology, paleontology, anthropology, botany, and animal behavior, Field Notes offers specific examples that professional naturalists can emulate to fine-tune their own field methods, along with practical advice that amateur naturalists and students can use to document their adventures.

    It also radicallly alters the general nature of daily life and the most personal aspects of human activity. In fact, one of the most distinctive features of modernity is the increasing interconnection between globalizing influences and personal dispositions. The author analyzes the nature of this interconnection and provides a conceptual vocabulary for it, in the process providing a major rethinking of the nature of modernity and a reworking of basic premises of sociological analysis.Building on the ideas set out in the authors The Consequences of Modernity, this book focuses on the self and the emergence of new mechanisms of self-identity that are shaped by—yet also shape—the institutions of modernity. The author argues that the self is not a passive entity, determined by external influences. Rather, in forging their self-identities, no matter how local their contexts of action, individuals contribute to and directly promote social influences that are global in their consequences and implications.The author sketches the contours of the he calls "high modernity"—the world of our day—and considers its ramifications for the self and self-identity. In this context, he analyzes the meaning to the self of such concepts as trust, fate, risk, and security and goes on the examine the "sequestration of experience," the process by which high modernity separates day-to-day social life from a variety of experiences and broad issues of morality. The author demonstrates how personal meaninglessness—the feeling that life has nothing worthwhile to offer—becomes a fundamental psychic problem in circumstances of high modernity. The book concludes with a discussion of "life politics," a politics of selfactualization operating on both the individual and collective levels.

    The first is the astonishing achievement of the Human Genome Project, which, it was anticipated, would identify the genetic basis of those characteristics that distinguish humans from their primate cousins. The second is the phenomenal advance in brain imaging that now permits neuroscientists to observe the brain 'in action' and thus account for the remarkable properties of the human mind.But that is not how it has turned out. It is simply not possible to get from the monotonous sequence of genes along the Double Helix to the near infinite diversity of the living world, nor to translate the electrical firing of the brain into the creativity of the human mind. This is not a matter of not knowing all the facts. Rather, science has inadvertently discovered that its theories are insufficient to conjure the wonder of the human experience from the bare bones of our genes and brains.We stand on the brink of a tectonic shift in our understanding of ourselves that will witness the rediscovery of the central premise of Western philosophy that there is 'more than we can know'. Lucid, compelling and utterly engaging, ‘Why Us?’ offers a convincing and provocative vision of the new science of being human.

    Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

    He explores works both by classic political philosophers, such as St. Augustine, Hobbes, Kant, and Rousseau, and by modern psychologists and anthropologists to discover ideas intended to explain war among states and related prescriptions for peace.

    astronomers, and Aristotle. G. E. R. Lloyd also investigates the relationships between science and philosophy and science and medicine; he discusses the social and economic setting of early Greek science; and he analyzes the motives and incentives of the different groups of writers.

    The objective here is to explain science in a simple, attractive and fun form that is open to all.The first axiom of this approach was set out as follows: “We believe in the magic of science. We hope to show you that sci-ence is not a secret art, accessible only to a dedicated few. It involves learning about nature and society, and aspects of our existence which affect us all, and which we should all therefore have the chance to understand. We shall interpret science for those who might not speak its language fluently, but want to understand its meaning. We don’t teach, we just tell stories about the beginnings of science, the natural phenomena and the underlying principles through which they occur, and the lives of the people who discovered them.”The aim of the writings collected in this series is to present some key scientific events, ideas and personalities in the form of short stories that are easy and fun to read. Scientific and philo-sophical concepts are explained in a way that anyone may under-stand. Each story may be read separately, but at the same time they all band together to form a wide-ranging introduction to the history of science and areas of contemporary scientific research, as well as some of the recurring problems science has encountered in history and the philosophical dilemmas it raises today.Review“If I were the only survivor on a remote island and all I had with me were this book, a Swiss army knife and a bottle, I would throw the bottle into the sea with the note: ‘Don’t worry, I have everything I need.’”— Ciril Horjak, alias Dr. Horowitz, a comic artist“The writing is understandable, but never simplistic. Instructive, but never patronizing. Straightforward, but never trivial. In-depth, but never too intense.”— Ali Žerdin, editor at Delo, the main Slovenian newspaper“Does science think? Heidegger once answered this question with a decisive No. The writings on modern science skillfully penned by Sašo Dolenc, these small stories about big stories, quickly convince us that the contrary is true. Not only does science think in hundreds of unexpected ways, its intellectual challenges and insights are an inexhaustible source of inspiration and entertainment. The clarity of thought and the lucidity of its style make this book accessible to anyone … in the finest tradition of popularizing science, its achievements, dilemmas and predicaments.”— Mladen Dolar, philosopher and author of A Voice and Nothing More“Sašo Dolenc is undoubtedly one of our most successful authors in the field of popular science, possessing the ability to explain complex scientific achievements to a broader audience in a clear and captivating way while remaining precise and scientific. His collection of articles is of particular importance because it encompasses all areas of modern science in an unassuming, almost light-hearted manner.”— Boštjan Žekš, physicist and former president of the Slovenian Academy of Sciences and Arts

    And all religious beliefs are "crutches" hindering the free locomotive efforts of an advancing humanity. There are no problems related to human progress and happiness in this age which any theology can solve, and which the teachings of freethought cannot do better and without the aid of encumbrances.

    The calls to ban it were more or less instant.Re:cyclists is the tale of what happened next, of how we have spent two centuries wheeling our way about town and country on bikes--or on two-wheeled things that vaguely resembled what we now call bikes. Michael Hutchinson picks his way through those 200 years, discovering how cycling became a kinky vaudeville act for Parisians, how it became an American business empire, and how it went on to find a unique home in the British Isles. He considers the penny-farthing riders exploring the abandoned and lonely coaching roads during the railway era, and the Victorian high-society cyclists of the 1890s bicycle craze--a time when no aristocratic house party was without bicycles and when the Prince of Wales used to give himself an illicit thrill on a weekday afternoon by watching the women's riding-school in the Royal Albert Hall.Re:cyclists looks at how cycling became the sport, the pastime and the social life of millions of ordinary people, how it grew and how it suffered through the 1960s and '70s, and how at the dawn of the twenty-first century it rose again, much changed but still ultimately just someone careering along on two wheels.

    Now he brings his considerable talents to the history of one of math's most enduring puzzles: the seemingly paradoxical nature of infinity.Is infinity a valid mathematical property or a meaningless abstraction? The nineteenth-century mathematical genius Georg Cantor's answer to this question not only surprised him but also shook the very foundations upon which math had been built. Cantor's counterintuitive discovery of a progression of larger and larger infinities created controversy in his time and may have hastened his mental breakdown, but it also helped lead to the development of set theory, analytic philosophy, and even computer technology.Smart, challenging, and thoroughly rewarding, Wallace's tour de force brings immediate and high-profile recognition to the bizarre and fascinating world of higher mathematics.

    Drawing on fieldwork in a Dutch university hospital, Annemarie Mol looks at the day-to-day diagnosis and treatment of atherosclerosis. A patient information leaflet might describe atherosclerosis as the gradual obstruction of the arteries, but in hospital practice this one medical condition appears to be many other things. From one moment, place, apparatus, specialty, or treatment, to the next, a slightly different “atherosclerosis” is being discussed, measured, observed, or stripped away. This multiplicity does not imply fragmentation; instead, the disease is made to cohere through a range of tactics including transporting forms and files, making images, holding case conferences, and conducting doctor-patient conversations.The Body Multiple juxtaposes two distinct texts. Alongside Mol’s analysis of her ethnographic material—interviews with doctors and patients and observations of medical examinations, consultations, and operations—runs a parallel text in which she reflects on the relevant literature. Mol draws on medical anthropology, sociology, feminist theory, philosophy, and science and technology studies to reframe such issues as the disease-illness distinction, subject-object relations, boundaries, difference, situatedness, and ontology. In dialogue with one another, Mol’s two texts meditate on the multiplicity of reality-in-practice.Presenting philosophical reflections on the body and medical practice through vivid storytelling, The Body Multiple will be important to those in medical anthropology, philosophy, and the social study of science, technology, and medicine.

    Soon Gen Xers will be the only cohort of Americans who remember life as it was lived before the arrival of the Internet. They are, as Hennessey dubs them, “the last adult generation,” the sole remaining link to a time when childhood was still a bit dangerous but produced adults who were naturally resilient. More than a decade into the social media revolution, the American public is waking up to the idea that the tech sector’s intentions might not be as pure as advertised. The mountains of money being made off our browsing habits and purchase histories are used to fund ever-more extravagant and utopian projects that, by their very natures, will corrode the foundations of free society, leaving us all helpless and digitally enslaved to an elite crew of ultra-sophisticated tech geniuses. But it’s not too late to turn the tide. There’s still time for Gen X to write its own future. A spirited defense of free speech, eye contact, and the virtues of patience, Zero Hour for Gen X is a cultural history of the last 35 years, an analysis of the current social and historical moment, and a generational call to arms.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.