Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    It contrasts "stickiness"—aggregating attention in centralized places—with "spreadability"—dispersing content widely through both formal and informal networks, some approved, many unauthorized. Stickiness has been the measure of success in the broadcast era (and has been carried over to the online world), but "spreadability" describes the ways content travels through social media. Following up on the hugely influential Convergence Culture: Where Old and New Media Collide, this book challenges some of the prevailing metaphors and frameworks used to describe contemporary media, from biological metaphors like "memes" and "viral" to the concept of "Web 2.0" and the popular notion of "influencers." Spreadable Media examines the nature of audience engagement, the environment of participation, the way appraisal creates value, and the transnational flows at the heart of these phenomena. It delineates the elements that make content more spreadable and highlights emerging media business models built for a world of participatory circulation. The book also explores the internal tensions companies face as they adapt to the new communication reality and argues for the need to shift from "hearing" to "listening" in corporate culture. Drawing on examples from film, music, games, comics, television, transmedia storytelling, advertising, and public relations industries, among others—from both the U.S. and around the world—the authors illustrate the contours of our current media environment. They highlight the vexing questions content creators must tackle and the responsibilities we all face as citizens in a world where many of us regularly circulate media content. Written for any and all of us who actively create and share media content, Spreadable Media provides a clear understanding of how people are spreading ideas and the implications these activities have for business, politics, and everyday life.

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    But the extreme right has been growing steadily in the US since the 1990s, with the rise of patriot militias; following 9/11, when conspiracy theorists found fresh life; and in virulent reaction to the first black president of the country. Nurtured by a powerful right-wing media sector in radio, TV, and online, the far-right, Tea Party movement conservatives, and Republican activists found common ground in ‘Producerist’ ideology and ‘Constitutionalist’ interpretations of US law – an alternative America that is resurgent, even as it has been ignored by the political establishment and mainstream media. Investigative reporter David Neiwert has been tracking extremists for more than two decades, and here he provides a deeply reported and authoritative report on the background, mindset, and growth on the ground of far-right movements across the country. The product of years of reportage, and including the most in-depth investigation of Trump’s ties to far-right figures, this is a crucial book about one of the most disturbing sides of the US.

    Why should he or anyone else care what became of his corpse? In The Work of the Dead, acclaimed cultural historian Thomas Laqueur examines why humanity has universally rejected Diogenes’s argument. No culture has been indifferent to mortal remains. Even in our supposedly disenchanted scientific age, the dead body still matters—for individuals, communities, and nations. A remarkably ambitious history, The Work of the Dead offers a compelling and richly detailed account of how and why the living have cared for the dead, from antiquity to the twentieth century.The book draws on a vast range of sources—from mortuary archaeology, medical tracts, letters, songs, poems, and novels to painting and landscapes in order to recover the work that the dead do for the living: making human communities that connect the past and the future. Laqueur shows how the churchyard became the dominant resting place of the dead during the Middle Ages and why the cemetery largely supplanted it during the modern period. He traces how and why since the nineteenth century we have come to gather the names of the dead on great lists and memorials and why being buried without a name has become so disturbing. And finally, he tells how modern cremation, begun as a fantasy of stripping death of its history, ultimately failed—and how even the ashes of the victims of the Holocaust have been preserved in culture.A fascinating chronicle of how we shape the dead and are in turn shaped by them, this is a landmark work of cultural history.

    But as Jean Kilbourne points out in this fascinating and shocking expose, the dreamlike promise of advertising always leaves us hungry for more. We can never be satisfied, because the products we love cannot love us back."When was the last time you felt this comfortable in a relationship?"; An ad for sneakers."You can love it without getting your heart broken."; An ad for a car."Until I find a real man, I'll settle for a real smoke."; A woman in a cigarette ad.Drawing upon her knowledge of psychology, media, and women's issues, Kilbourne offers nothing less than a new understanding of a ubiquitous phenomenon in our culture. The average American is exposed to over 3,000 advertisements a day and watches three years' worth of television ads over the course of a lifetime. Kilbourne paints a gripping portrait of how this barrage of advertising drastically affects young people, especially girls, by offering false promises of rebellion, connection, and control. She also offers a surprising analysis of the way advertising creates and then feeds an addictive mentality that often continues throughout adulthood.

    This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about.--Rhythm ScienceThe conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science--the creation of art from the flow of patterns in sound and culture, the changing same. Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.Miller constructed his Dj Spooky persona (spooky from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for coding a generative syntax for new languages of creativity. For example: Start with the inspiration of George Herriman's Krazy Kat comic strip. Make a track invoking his absurd landscapes...What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density. Or, for an online remix of two works by Marcel Duchamp: I took a lot of his material written on music and flipped it into a DJ mix of his visual material--with him rhyming! Tracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson (all minds quote), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. The story unfolds while the fragments coalesce, he writes.Miller's textual provocations are designed for maximum visual and tactile seduction by the international studio COMA (Cornelia Blatter and Marcel Hermans). They sustain the book's motifs of recontextualizing and relayering, texts and images bleed through from page to page, creating what amount to 2.5 dimensional vectors. From its remarkable velvet flesh cover, to the die cut hole through the center of the book, which reveals the colored nub holding in place the included audio CD, Rhythm Science: Excerpts and Allegories from the Sub Rosa Archives, this pamphlet truly lives up to Editorial Director Peter Lunenfeld's claim that the Mediawork Pamphlets are theoretical fetish objects...'zines for grown-ups.

    A provocative, compelling, and entertaining look at how the power of images dominates every aspect of our lives.

    But at what cost? In this urgent and revelatory excavation of our Information Age, leading technology thinker Adam Greenfield forces us to reconsider our relationship with the networked objects, services and spaces that define us. It is time to re-evaluate the Silicon Valley consensus determining the future.We already depend on the smartphone to navigate every aspect of our existence. We're told that innovations--from augmented-reality interfaces and virtual assistants to autonomous delivery drones and self-driving cars--will make life easier, more convenient and more productive. 3D printing promises unprecedented control over the form and distribution of matter, while the blockchain stands to revolutionize everything from the recording and exchange of value to the way we organize the mundane realities of the day to day. And, all the while, fiendishly complex algorithms are operating quietly in the background, reshaping the economy, transforming the fundamental terms of our politics and even redefining what it means to be human.Having successfully colonized everyday life, these radical technologies are now conditioning the choices available to us in the years to come. How do they work? What challenges do they present to us, as individuals and societies? Who benefits from their adoption? In answering these questions, Greenfield's timely guide clarifies the scale and nature of the crisis we now confront --and offers ways to reclaim our stake in the future.

    Goth: Undead Subculture is the first collection of scholarly essays devoted to this enduring yet little examined cultural phenomenon. Twenty-three essays from various disciplines explore the music, cinema, television, fashion, literature, aesthetics, and fandoms associated with the subculture. They examine goth’s many dimensions—including its melancholy, androgyny, spirituality, and perversity—and take readers inside locations in Los Angeles, Austin, Leeds, London, Buffalo, New York City, and Sydney. A number of the contributors are or have been participants in the subculture, and several draw on their own experiences.The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. The essays include an interview with the distinguished fashion historian Valerie Steele; analyses of novels by Anne Rice, Poppy Z. Brite, and Nick Cave; discussions of goths on the Internet; and readings of iconic goth texts from Bram Stoker’s Dracula to James O’Barr’s graphic novel The Crow. Other essays focus on gothic music, including seminal precursors such as Joy Division and David Bowie, and goth-influenced performers such as the Cure, Nine Inch Nails, and Marilyn Manson. Gothic sexuality is explored in multiple ways, the subjects ranging from the San Francisco queercore scene of the 1980s to the increasing influence of fetishism and fetish play. Together these essays demonstrate that while its participants are often middle-class suburbanites, goth blurs normalizing boundaries even as it appears as an everlasting shadow of late capitalism.Contributors: Heather Arnet, Michael Bibby, Jessica Burstein, Angel M. Butts, Michael du Plessis, Jason Friedman, Nancy Gagnier, Ken Gelder, Lauren M. E. Goodlad, Joshua Gunn, Trevor Holmes, Paul Hodkinson, David Lenson, Robert Markley, Mark Nowak, Anna Powell, Kristen Schilt, Rebecca Schraffenberger, David Shumway, Carol Siegel, Catherine Spooner, Lauren Stasiak, Jeffrey Andrew Weinstock

    No conversation about the dangers of technology and its unavoidable effects on society can begin without a careful reading of this book."A magnificent book . . . He goes through one human activity after another and shows how it has been technicized, rendered efficient, and diminished in the process."-Harper's"One of the most important books of the second half of the twentieth-century. In it, Jacques Ellul convincingly demonstrates that technology, which we continue to conceptualize as the servant of man, will overthrow everything that prevents the internal logic of its development, including humanity itself-unless we take necessary steps to move human society out of the environment that 'technique' is creating to meet its own needs."-The Nation"A description of the way in which technology has become completely autonomous and is in the process of taking over the traditional values of every society without exception, subverting and suppressing these values to produce at last a monolithic world culture in which all non-technological difference and variety are mere appearance."-Los Angeles Free Press

    Illustrations; full-color inserts.

    . . perhaps the most widely read voice on foreign policy on the planet."—New York Times Book Review "Unwavering political contrarian Noam Chomsky smart-bombs the US military's global Interventions. Shock and awe!"—Vanity Fair Because We Say So presents more than thirty concise, forceful commentaries on US politics and global power. Written between 2011 and 2015, Noam Chomsky's arguments forge a persuasive counter-narrative to official accounts of US politics and policies during global crisis. Find here classic Chomsky on the increasing urgency of climate change, the ongoing impact of Edward Snowden's whistleblowing, nuclear politics, cyberwar, terrorism, Iraq, Afghanistan, Iran, Israel, and the Middle East, security and state power, as well as deeper reflections on the Obama doctrine, political philosophy, the Magna Carta, and the importance of a commons to democracy. Because We Say So is the third in a series of books by Chomsky published by City Lights Publishers that includes Making the Future (2012) and Interventions (2007), a book banned by US military censors. Taken together, the three books present a complete collection of the articles Chomsky writes regularly for the New York Times Syndicate, and are largely ignored by newspapers in the United States. Because We Say So offers fierce, accessible, timely, gloves-off political writing by America's foremost public intellectual and political dissident. Noam Chomsky is one of the world's most well-known critics of US policy. He has published numerous groundbreaking and best-selling books on global politics, history, and linguistics.

    Skal chronicles one of our most popular and pervasive modes of cultural expression. He explores the disguised form in which Hollywood's classic horror movies played out the traumas of two world wars and the Depression; the nightmare visions of invasion and mind control catalyzed by the Cold War; the preoccupation with demon children that took hold as thalidomide, birth control, and abortion changed the reproductive landscape; the vogue in visceral, transformative special effects that paralleled the development of the plastic surgery industry; the link between the AIDS epidemic and the current fascination with vampires; and much more. Now with a new Afterword by the author that looks at horror's popular renaissance in the last decade, The Monster Show is a compulsively readable, thought-provoking inquiry into America's obsession with the macabre.

    But in its most exuberant form, it is a philosophy, an overall worldview that provides an account of reality and knowledge.” Poststructuralism is a loosely knit intellectual movement, comprised mainly of ex-structuralists who either became dissatisfied with the theory or felt they could improve it. Structuralism and Poststructuralism For Beginners is an illustrated tour through the mysterious landscape of these two theories. The book’s starting point is the linguistic theory of Ferdinand de Saussure. The book moves on to the anthropologist and literary critic Claude Levi-Strauss; the semiologist and literary critic Roland Barthes; the Marxist philosopher Louis Althusser; the psychoanalyst Jacques Lacan; the deconstructionist Jacques Derrida. The book concludes by examining the postmodern obsession with language and with the radical claim of the disappearance of the individual–obsessions that unite the work of all of these theorists.