By leading design thinker Ellen Lupton and her twin sister Julia Lupton, it shows how design is about much more than what’s bought at high-end stores or the modern look at IKEA. Design is critical thinking: a way to look at the world and wonder why things work, and why they don’t.Illustrated with original paintings of objects both ordinary and odd, Design Your Life casts a sharp eye on everything from roller bags, bras, toilet paper, and stuffed animals to parenting, piles, porches, and potted plants. Using humor and insight Ellen and Julia explore the practical side of everyday design, looking at how it impacts your life in unexpected ways and what you can do about it. Speaking to the popular interest in design as well as people’s desire to make their own way through a mass-produced world, this thoughtful book takes a fresh and humorous approach to make some serious points about the impact of design on our lives.Find out what's wrong with the bras, pillows, potted plants, and the other hopeless stuff you use, buy, clean, water, or put away everyday. Discover how to secretly control the actions of those around you by choosing and placing objects carefully. Find out how roller bags are threatening civilization, and how the layout of your own house might be making you miserable. Use the tools of self-publishing to take the power of branding into your own hands.Taking a fresh, funny look at parenthood, housekeeping, entertaining, time management, crafting, and more, Design Your Life shows you how to evaluate the things you use, and how to recognize forms of order that secretly inhabit the messes of daily life, be it a cluttered room or a busy schedule. Use this book to gain control over your environment and tap into the power of design to communicate with friends, family, and the world.

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    But no modern translation has yet captured the essential thrust of Lao Tzu's work as a practical guide to living an awakened life. Now William Martin, whose acclaimed previous reinterpretations of the Tao (for parents, couples, and elders) have introduced or reacquainted this classic text to thousands of readers, strikingly translates the Tao's eighty-one chapters to uniquely address someone on a Tao—or path—with a practice. Martin frames his new translation with two illuminating, groundbreaking sections: "A Path," which introduces the Tao's nonlinear construction and explains how it works its themes; and "A Practice," which provides practical guidance for readers exploring each of the Tao's themes in depth. Martin's genius in this new translation uncovers how directly the Tao speaks to readers on or about to embark on a spiritual journey.

    Levine draws on his broad experience as a clinician, a student of comparative brain research, a stress scientist and a keen observer of the naturalistic animal world to explain the nature and transformation of trauma in the body, brain and psyche. In an Unspoken Voice is based on the idea that trauma is neither a disease nor a disorder, but rather an injury caused by fright, helplessness and loss that can be healed by engaging our innate capacity to self-regulate high states of arousal and intense emotions. Enriched with a coherent theoretical framework and compelling case examples, the book elegantly blends the latest findings in biology, neuroscience and body-oriented psychotherapy to show that when we bring together animal instinct and reason, we can become more whole human beings.

    From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body—weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more—in a way that makes sense of our current social landscape—finally! This is a great book for anyone who wonders why women's magazines are always describing delicious food as 'sinful' and why there is a cake called Death by Chocolate. Loved it!"—Katha Pollitt, Nation columnist and author of Subject to Debate: Sense and Dissents on Women, Politics, and Culture (2001)

    Unlike other volumes, it also offers a four-field introduction to theory. As a stand-alone text, or used in conjunction with the companion volume "Readings for a History of Anthropological Theory," Erickson and Murphy offer a comprehensive, affordable, and contemporary introduction to anthropological theory.The third edition has been updated and fully revised throughout to closely parallel the presentation in the companion reader, making it easier to use both books in tandem. New original essays by contemporary theorists bring theories to life, and portraits of important theorists make it a handsome volume. Sources and suggested readings have been updated, and glossary definitions have been updated, streamlined, and standardized.

    In this new intervention, Fredric Jameson—perhaps the most influential and persuasive theorist of postmodernity—excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive ‘modernity’ as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well.In this major new interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms—which can probably not be banished at this late date—helps us clarify our present political and artistic situations.

    The academy is shown to be not just a realm of dialogue and debate, but also a sphere of power in which reputations and careers are made, defended and destroyed.Employing the distinctive methods for which he has become well known, Bourdieu examines the social background and practical activities of his fellow academics—from Foucault, Derrida, and Lacan to figures who are lesser known but not necessarily less influential. Bourdieu analyzes their social origins and current positions, how much they publish and where they publish it, their institutional connections, media appearances, political involvements and so on.This enables Bourdieu to construct a map of the intellectual field in France and to analyze the forms of capital and power, the lines of conflict and the patterns of change, which characterize the system of higher education in France today.Homo Academicus paints a vivid and dynamic picture of French intellectual life today and develops a general approach to the study of modern culture and education. It will be of great interest to students of sociology, education and politics as well as to anyone concerned with the role of intellectuals and higher education today.

    Graphic Design which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups is not good design if it is irrelevant.Graphic design which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates is not good design if it does not communicate. - Paul Rand For the design student, teacher, professional designer, and, indeed, for anyone interested in the creative communication of ideas, Paul Rand: A Designer's Art is certain to be a book that is both provocative and enlightening.

    When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. "The Art of Failure" is essential reading for anyone interested in video games, whether as entertainment, art, or education.

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    The eight foundational lectures Hall delivered at the University of Illinois in 1983 introduced North American audiences to a thinker and discipline that would shift the course of critical scholarship. Unavailable until now, these lectures present Hall's original engagements with the theoretical positions that contributed to the formation of Cultural Studies. Throughout this personally guided tour of Cultural Studies' intellectual genealogy, Hall discusses the work of Richard Hoggart, Raymond Williams, and E. P. Thompson; the influence of structuralism; the limitations and possibilities of Marxist theory; and the importance of Althusser and Gramsci. Throughout these theoretical reflections, Hall insists that Cultural Studies aims to provide the means for political change.

    He asserts that it is no accident that the upsurge of academic interest in science fiction since the 1970s coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. Extended readings of novels by five of the most important modern science fiction authors illustrate the affinity between science fiction and critical theory, in each case concentrating on one major novel that resonates with concerns proper to critical theory.Freedman's five readings are: Solaris: Stanislaw Lem and the Structure of Cognition; The Dispossessed: Ursula LeGuin and the Ambiguities of Utopia; The Two of Them: Joanna Russ and the Violence of Gender; Stars in My Pocket Like Grains of Sand: Samuel Delany and the Dialectics of Difference; The Man in the High Castle: Philip K. Dick and the Construction of Realities.

    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.

    They assess recent experimental trends and explore the functions of orality, ethnicity, and power in ethnographic composition. "Writing Culture" argues that ethnography is in the midst of a political and epistemological crisis: Western writers no longer portray non-Western peoples with unchallenged authority; the process of cultural representation is now inescapably contingent, historical, and contestable. The essays in this volume help us imagine a fully dialectical ethnography acting powerfully in the postmodern world system. They challenge all writers in the humanities and social sciences to rethink the poetics and politics of cultural invention.