The book also includes descriptions of laquerware under candlelight, and women in the darkness of the house of pleasure.

    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.

    David Hockney has worked in almost every medium - painting, drawing, stage design, photography and printmaking. He has undertaken an ambitious experiment with ways of seeing and ways of representing sight - ranging from his paintings, with their challenges to perspective and brilliant colours, to his vivid multi-dimensional photo-collages and his fax art, computer printings and coloured laser prints.

    Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism, the things that draw most people to art in the first place.Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the glories of the Western canon are revised and disfigured to fit the rigid doctrines of identity politics. Pop culture is under assault, too: compliance with identity politics is the measure by which we judge our movies, TV and music.The degree of politicisation means that art no longer plays its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.

    Forget short-term symptoms like Donald Trump and Brexit, it is innovation itself that explains them and that will itself shape the 21st century for good and ill. Yet innovation remains a mysterious process, poorly understood by policy makers and businessmen, hard to summon into existence to order, yet inevitable and inexorable when it does happen.Matt Ridley argues in this book that we need to change the way we think about innovation, to see it as an incremental, bottom-up, fortuitous process that happens to society as a direct result of the human habit of exchange, rather than an orderly, top-down process developing according to a plan. Innovation is crucially different from invention, because it is the turning of inventions into things of practical and affordable use to people. It speeds up in some sectors and slows down in others. It is always a collective, collaborative phenomenon, not a matter of lonely genius. It is gradual, serendipitous, recombinant, inexorable, contagious, experimental and unpredictable. It happens mainly in just a few parts of the world at any one time. It still cannot be modelled properly by economists, but it can easily be discouraged by politicians. Far from there being too much innovation, we may be on the brink of an innovation famine.Ridley derives these and other lessons, not with abstract argument, but from telling the lively stories of scores of innovations, how they started and why they succeeded or in some cases failed. He goes back millions of years and leaps forward into the near future. Some of the innovation stories he tells are about steam engines, jet engines, search engines, airships, coffee, potatoes, vaping, vaccines, cuisine, antibiotics, mosquito nets, turbines, propellers, fertiliser, zero, computers, dogs, farming, fire, genetic engineering, gene editing, container shipping, railways, cars, safety rules, wheeled suitcases, mobile phones, corrugated iron, powered flight, chlorinated water, toilets, vacuum cleaners, shale gas, the telegraph, radio, social media, block chain, the sharing economy, artificial intelligence, fake bomb detectors, phantom games consoles, fraudulent blood tests, faddish diets, hyperloop tubes, herbicides, copyright and even – a biological innovation -- life itself.

    Wilde argues that under capitalism the majority of people spoil their lives by an unhealthy and exaggerated altruism-are forced, indeed, so to spoil them: instead of realizing their true talents, they waste their time solving the social problems caused by capitalism, without taking their common cause away. Thus, caring people seriously and very sentimentally set themselves to the task of remedying the evils that they see in poverty, but their remedies do not cure the disease: they merely prolong it because, the proper aim is to try and reconstruct society on such a basis that poverty will be impossible.

    But here, at long last, Pulitzer Prize-winning critic William A. Henry III takes on, and debunks, some basic, fundamentally ingrained ideas: that everyone is pretty much alike (and should be); that self-fulfillment is more important than objective achievement; that everyone has something significant to contribute; that all cultures offer something equally worthwhile; that a truly just society would automatically produce equal success results across lines of race, class, and gender; and that the common man is almost always right. Henry makes clear, in a book full of vivid examples and unflinching opinions, that while these notions are seductively democratic they are also hopelessly wrong.

    Its architectural treasures crumble—foundations shift, marble ornaments fall—even as efforts to preserve them are underway. The City of Falling Angels opens on the evening of January 29, 1996, when a dramatic fire destroys the historic Fenice opera house. The loss of the Fenice, where five of Verdi's operas premiered, is a catastrophe for Venetians. Arriving in Venice three days after the fire, Berendt becomes a kind of detective—inquiring into the nature of life in this remarkable museum-city—while gradually revealing the truth about the fire.In the course of his investigations, Berendt introduces us to a rich cast of characters: a prominent Venetian poet whose shocking "suicide" prompts his skeptical friends to pursue a murder suspect on their own; the first family of American expatriates that loses possession of the family palace after four generations of ownership; an organization of high-society, partygoing Americans who raise money to preserve the art and architecture of Venice, while quarreling in public among themselves, questioning one another's motives and drawing startled Venetians into the fray; a contemporary Venetian surrealist painter and outrageous provocateur; the master glassblower of Venice; and numerous others-stool pigeons, scapegoats, hustlers, sleepwalkers, believers in Martians, the Plant Man, the Rat Man, and Henry James.Berendt tells a tale full of atmosphere and surprise as the stories build, one after the other, ultimately coming together to reveal a world as finely drawn as a still-life painting. The fire and its aftermath serve as a leitmotif that runs throughout, adding the elements of chaos, corruption, and crime and contributing to the ever-mounting suspense of this brilliant book.

    In 1925, he had started drawing alphabets and printing books, and in 1931, this plainspoken little book was a fustian and forceful argument for common sense in design, composed for anyone remotely interested in the subtle and evolving challenge of the typographic arts. Set rag right, with tight word spacing, it is a model of composition. The text, like most of Gill's, is exasperating, exorbitant, and exciting. But Gill was, above all, a craftsman, whose work always reflected his philosophy and whose hand always followed his moral convictions.

    In his view the perpetual conflict within man, in which emotion, instinct and the senses vie with the intellect and reason, has resulted in society's increasing alienation from the natural world. Yet Lawrence's belief in humanity's power to regain the imaginative and spiritual values which alone can revitalize our world also makes Apocalypse a powerful statement of hope. Presenting his thoughts on psychology, science, politics, art, God and man, and including a fierce protest against Christianity, Apocalypse is Lawrence's last testament, his final attempt to convey his vision of man and of the cosmos.

    The result is both a defense of freedom of speech and a critique of the likeability factor that can impede it.

    In Danger is the first anthology in English devoted to his political and literary essays, with a generous selection of his poetry. Against the backdrop of post-war Italy, and through the mid-'70s, Pasolini's writings provide a fascinating portrait of a Europe in which fascists and communists violently clashed for power and where journalists ran great risks. The controversial and openly gay Pasolini was murdered at the age of fifty-three; In Danger includes his final interview, conducted hours before his death.

    Of course, none of that was part of the plan. In this fully updated paperback edition of Antisocial Media, Siva Vaidhyanathan explains how Facebook devolved from an innocent social site hacked together by Harvard students into a force that, while it may make personal life just a little more pleasurable, makes democracy a lot more challenging. It's an account of the hubris of good intentions, a missionary spirit, and an ideology that sees computer code as the universal solvent for all human problems. And it's an indictment of how social media has fostered the deterioration of democratic culture around the world, from facilitating Russian meddling in support of Trump's election to the exploitation of the platform by murderous authoritarians in Burma and the Philippines. Both authoritative and trenchant, Antisocial Media shows how Facebook's mission went so wrong.

    Now, more than ever before, our country needs to see full legalization of medical/recreational marijuana and hemp. Any way you look at it, for whoever is using it, marijuana is a medicinal plant, in abundant supply. Every month and every year that goes by, we find out more positive things about it. Medicinal marijuana has been demonized through the years but obviously this plant has a great deal of positive attributes, and it’s also a renewable resource. Being a cash crop, marijuana is bad for the pharmaceutical industry. Is Big Pharma pressuring the government to continue to deny sick people access? If so, that’s truly a crime against American citizens. And as Ventura writes: “Our government won’t do the right thing and legalize marijuana unless we the people demand it, because there are so many people within our government on the payroll, all thanks to the War on Drugs." Jesse Ventura’s Marijuana Manifesto calls for an end to the War on Drugs. Just because something is illegal, that doesn’t mean it goes away, it just means that criminals run it. Legalizing marijuana and marijuana dispensaries will serve to rejuvenate our pathetic economy, and just might make people a little happier. Ventura’s book will show us all how we can take our country back.

    It collects the text of Mason's SIEGE newsletter (1980-1986) and other propaganda, arranging it according to topic. It places an emphasis on gaining power through armed struggle rather than political means.It was first published by Storm Books in 1992, edited and introduced by Michael Moynihan. It was republished, with a new preface by Mason and an introduction by Ryan Schuster, in 2003