What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

    In Denialism, New Yorker staff writer Michael Specter reveals that Americans have come to mistrust institutions and especially the institution of science more today than ever before. For centuries, the general view had been that science is neither good nor bad—that it merely supplies information and that new information is always beneficial. Now, science is viewed as a political constituency that isn’t always in our best interest. We live in a world where the leaders of African nations prefer to let their citizens starve to death rather than import genetically modified grains. Childhood vaccines have proven to be the most effective public health measure in history, yet people march on Washington to protest their use. In the United States a growing series of studies show that dietary supplements and “natural” cures have almost no value, and often cause harm. We still spend billions of dollars on them. In hundreds of the best universities in the world, laboratories are anonymous, unmarked, and surrounded by platoons of security guards—such is the opposition to any research that includes experiments with animals. And pharmaceutical companies that just forty years ago were perhaps the most visible symbol of our remarkable advance against disease have increasingly been seen as callous corporations propelled solely by avarice and greed. As Michael Specter sees it, this amounts to a war against progress. The issues may be complex but the choices are not: Are we going to continue to embrace new technologies, along with acknowledging their limitations and threats, or are we ready to slink back into an era of magical thinking? In Denialism, Specter makes an argument for a new Enlightenment, the revival of an approach to the physical world that was stunningly effective for hundreds of years: What can be understood and reliably repeated by experiment is what nature regarded as true. Now, at the time of mankind’s greatest scientific advances—and our greatest need for them—that deal must be renewed.

    The glowing camera screen is the lens through which many of seek to communicate our experience. But our thinking about photography has been slow to catch-up; this major fixture of everyday life is still often treated in the terms of art or journalism.In The Social Photo, social theorist Nathan Jurgenson develops bold new ways of understanding photography in the age of social media and the new kinds of images that have emerged: the selfie, the faux-vintage photo, the self-destructing image, the food photo. Jurgenson shows how these devices and platforms have remade the world and our understanding of ourselves within it.

    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.

    In chapters on the penis (in all its incarnations), fifties Hollywood, male beauty standards, and sexual harassment, and in discussions of topics ranging from Marlon Brando and Boogie Nights to Philip Roth and Lady Chatterley's Lover, Bordo offers fresh and unexpected insights. Always--whether she is examining Michael Jordan or Humbert Humbert, the butch phallus or her own grade-school experiences--she rejects rigid categories in favor of an honest, nuanced version of men as flesh-and-blood human beings.

    Mumford has drawn on every aspect of life to explain the machine and to trace its social results. "An extraordinarily wide-ranging, sensitive, and provocative book about a subject upon whichphilosophers have so far shed but little light" (Journal of Philosophy).

    'Here Comes Everybody' is an examination of how the spread of new forms of social interaction enabled by technology is changing the way humans form and exist within groups, with profound long-term economic and social effects, for good and for ill.

    Photos.

    The Brat Pack and their contemporaries have grown up, but celluloid has them flickering forever, angst-ridden, haunted, guileless, cocky, stripped to their briefs, and all dressed up pretty in pink. 25 photos, 8-page color insert.

    They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online.Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses -- which are just as damaging as the trolls' most disruptive behaviors.Phillips describes, for example, the relationship between trolling and sensationalist corporate media -- pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, "the grimacing poster children for a socially networked world," align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.