Charles Perrow argues that the conventional engineering approach to ensuring safety--building in more warnings and safeguards--fails because systems complexity makes failures inevitable. He asserts that typical precautions, by adding to complexity, may help create new categories of accidents. (At Chernobyl, tests of a new safety system helped produce the meltdown and subsequent fire.) By recognizing two dimensions of risk--complex versus linear interactions, and tight versus loose coupling--this book provides a powerful framework for analyzing risks and the organizations that insist we run them.The first edition fulfilled one reviewer's prediction that it may mark the beginning of accident research. In the new afterword to this edition Perrow reviews the extensive work on the major accidents of the last fifteen years, including Bhopal, Chernobyl, and the Challenger disaster. The new postscript probes what the author considers to be the quintessential 'Normal Accident' of our time: the Y2K computer problem.

    K. Ching. Each page has been meticulously revised to incorporate contemporary examples of the principles of form, space, and order - the fundamental vocabulary of every designer. The result is a beautifully illustrated volume that embraces today's forms and looks at conventional models with a fresh perspective. Here, Ching examines every principal of architecture, juxtaposing images that span centuries and cross cultural boundaries to create a design vocabulary that is both elemental and timeless. Among the topics covered are point, line, plane, volume, proportion, scale, circulation, and the interdependence of form and space. While this revision continues to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, it has been refined to amplify and clarify concepts. In addition, the Second Edition contains numerous new hand-rendered drawings; expanded section on openings and scale; examples of contemporary architectural design elements; expanded chapter on design principles; new glossary and index categorized by the author; and new 8 1/2 x 11 upright trim. In the Second Edition of Architecture: Form, Space, and Order, the author has opted for a larger format and crisper images. Mr. Ching has retained the style of his hand-lettered text, a hallmark of each of his books. This rich source of architectural prototypes, each rendered in Mr. Ching's signature style, also serves as a guide to architectural drawing. Doubtless, many will want this handsomevolume for the sheer beauty of it. Architects and students alike will treasure this book for its wealth of practical information and its precise illustrations. Mr. Ching has once again created a visual reference that illuminates the world of architectural form.

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Thisoften leads exasperated viewers to exclaim--is this really art?In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor.It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

    He untangles the pattern of interconnecting events, the accidents of time, circumstance, and place that gave rise to major inventions of the world. Says Burke, "My purpose is to acquaint the reader with some of the forces that have caused change in the past, looking in particular at eight innovations - the computer, the production line, telecommunications, the airplane, the atomic bomb, plastics, the guided rocket, and television - which may be most influential in structuring our own futures.... Each one of these is part of a family of similar devices, and is the result of a sequence of closely connected events extending from the ancient world until the present day. Each has enormous potential for humankind's benefit - or destruction."

    Kandel, The Age of Insight takes us to Vienna 1900, where leaders in science, medicine, and art began a revolution that changed forever how we think about the human mind—our conscious and unconscious thoughts and emotions—and how mind and brain relate to art.   At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today.   The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women’s unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death.   Kandel tells the story of how these pioneers—Freud, Schnitzler, Klimt, Kokoschka, and Schiele—inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today’s cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history.

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    

    Now he offers a framework for envisioning the twenty-first century--an age in which the marriage of human sensitivity and artificial intelligence fundamentally alters and improves the way we live. Kurzweil's prophetic blueprint for the future takes us through the advances that inexorably result in computers exceeding the memory capacity and computational ability of the human brain by the year 2020 (with human-level capabilities not far behind); in relationships with automated personalities who will be our teachers, companions, and lovers; and in information fed straight into our brains along direct neural pathways. Optimistic and challenging, thought-provoking and engaging, The Age of Spiritual Machines is the ultimate guide on our road into the next century.

    The resulting cost? Today we see sprawling cities that are better suited to cars than people and a nationwide fleet of motor vehicles that consume one-eighth of the world's total oil production. Donald Shoup contends in The High Cost of Free Parking that parking is sorely misunderstood and mismanaged by planners, architects, and politicians. He proposes new ways for cities to regulate parking so that Americans can stop paying for free parking's hidden costs.

    Politics. Critical Theory. Art. In 1957 a few European avant-garde groups came together to form the Situationist International. Picking up where the dadaists and surrealists had left off, the situationists challenged people's passive conditioning with carefully calculated scandals and the playful tactic of detournement. Seeking a more extreme social revolution than was dreamed of by most leftists, they developed an incisive critique of the global spectacle-commodity system and of its "Communist" pseudo-opposition, and their new methods of agitation helped trigger the May 1968 revolt in France. Since then although the SI itself was dissolved in 1972 situationist theories and tactics have continued to inspire radical currents all over the world. The SITUATIONIST INTERNATIONAL ANTHOLOGY, generally recognized as the most comprehensive and accurately translated collection of situationist writings in English, presents a rich variety of articles, leaflets, graffiti and internal documents, ranging from early experiments in "psychogeography" to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution and other crises and upheavals of the sixties. For this new edition the translations have all been fine-tuned and over 100 pages of new material have been added."

    the idea that space is not something static and neutral, a frozen entity, but is something intertwined with time and thus ever changing - also when we are not occupying it. Doreen's descriptions of her journey through England for example are clear and precise accounts of this idea, and she very sharply characterizes the attempts not to recognize this idea as utopian and nostalgic." - Olafur EliassonIn this book, Doreen Massey makes an impassioned argument for revitalising our imagination of space. She takes on some well-established assumptions from philosophy, and some familiar ways of characterising the twenty-first century world, and shows how they restrain our understanding of both the challenge and the potential of space.The way we think about space matters. It inflects our understandings of the world, our attitudes to others, our politics. It affects, for instance, the way we understand globalisation, the way we approach cities, the way we develop, and practice, a sense of place. If time is the dimension of change then space is the dimension of the social: the contemporaneous co-existence of others. That is its challenge, and one that has been persistently evaded. For Space pursues its argument through philosophical and theoretical engagement, and through telling personal and political reflection. Doreen Massey asks questions such as how best to characterise these so-called spatial times, how it is that implicit spatial assumptions inflect our politics, and how we might develop a responsibility for place beyond place.This book is "for space" in that it argues for a reinvigoration of the spatiality of our implicit cosmologies. For Space is essential reading for anyone interested in space and the spatial turn in the social sciences and humanities. Serious, and sometimes irreverent, it is a compelling manifesto: for re-imagining spaces for these times and facing up to their challenge.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    It has built on itself for centuries, becoming vast and increasingly specialized. Most of us are ignorant about the fundamental principles of the civilization that supports us, happily utilizing the latest—or even the most basic—technology without having the slightest idea of why it works or how it came to be. If you had to go back to absolute basics, like some sort of postcataclysmic Robinson Crusoe, would you know how to re-create an internal combustion engine, put together a microscope, get metals out of rock, accurately tell time, weave fibers into clothing, or even how to produce food for yourself? Regarded as one of the brightest young scientists of his generation, Lewis Dartnell proposes that the key to preserving civilization in an apocalyptic scenario is to provide a quickstart guide, adapted to cataclysmic circumstances. The Knowledge describes many of the modern technologies we employ, but first it explains the fundamentals upon which they are built. Every piece of technology rests on an enormous support network of other technologies, all interlinked and mutually dependent. You can’t hope to build a radio, for example, without understanding how to acquire the raw materials it requires, as well as generate the electricity needed to run it. But Dartnell doesn’t just provide specific information for starting over; he also reveals the greatest invention of them all—the phenomenal knowledge-generating machine that is the scientific method itself. This would allow survivors to learn technological advances not explicitly explored in The Knowledge as well as things we have yet to discover. The Knowledge is a brilliantly original guide to the fundamentals of science and how it built our modern world as well as a thought experiment about the very idea of scientific knowledge itself.

    Imagine, then, the excitement that Howard Carson, an amateur archeologist at best, experienced when in crossing the perimeter of an abandoned excavation site he felt the ground give way beneath him and found himself at the bottom of a shaft, which, judging from the DO NOT DISTURB sign hanging from an archaic doorknob, was clearly the entrance to a still-sealed burial chamber. Carson's incredible discoveries, including the remains of two bodies, one of then on a ceremonial bed facing an altar that appeared to be a means of communicating with the Gods and the other lying in a porcelain sarcophagus in the Inner Chamber, permitted him to piece together the whole fabric of that extraordinary civilization.