In this translation of his influential 1990 book Le Contrat Naturel, Serres calls for a natural contract to be negotiated between Earth and its inhabitants.World history is often referred to as the story of human conflict. Those struggles that are seen as our history must now include the uncontrolled violence that humanity perpetrates upon the earth, and the uncontrollable menace to human life posed by the earth in reaction to this violence. Just as a social contract once brought order to human relations, Serres believes that we must now sign a "natural contract" with the earth to bring balance and reciprocity to our relations with the planet that gives us life. Our survival depends on the extent to which humans join together and act globally, on an earth now conceived as an entity. Tracing the ancient beginnings of modernity, Serres examines the origins and possibilities of a natural contract through an extended meditation on the contractual foundations of law and science. By invoking a nonhuman, physical world, Serres asserts, science frees us from the oppressive confines of a purely social existence, but threatens to become a totalitarian order in its own right. The new legislator of the natural contract must bring science and law into balance.Serres ends his meditation by retelling the story of the natural contract as a series of parables. He sees humanity as a spacecraft that with the help of science and technology has cast off from familiar moorings. In place of the ties that modernity and analytic reason have severed, we find a network of relations both stranger and stronger than any we once knew, binding us to one another and to the world. The philosopher's harrowing and joyous task, Serres tells us, is that of comprehending and experiencing the bonds of violence and love that unite us in our spacewalk to the spaceship Mother Earth. "Wise, rich and poetic . . . not simply a philosophical study of the Environment, or an ecological questioning of Philosophy . . . Nature is acknowledged as an inside force which breaks [the philosopher's] discourse, and opens it up to a vigilant poetic meditation."--Substance: A Review of Theory and Literary Criticism

    These are tough questions for the pushers of technology to answer. Our economic system is centered on technology, so it would be no small matter if tech ceased to be an end-in-itself in our daily lives. Technology is not going to go away, but the time to discuss the end it will serve is before we deploy it, not after. We need to ask what purpose will be served by the broadband communications, smart materials, wearable computing, and connected appliances that we're unleashing upon the world. We need to ask what impact all this stuff will have on our daily lives. Who will look after it, and how?In the Bubble is about a world based less on stuff and more on people. Thackara describes a transformation that is taking place now--not in a remote science fiction future; it's not about, as he puts it, the schlock of the new but about radical innovation already emerging in daily life. We are regaining respect for what people can do that technology can't. In the Bubble describes services designed to help people carry out daily activities in new ways. Many of these services involve technology--ranging from body implants to wide-bodied jets. But objects and systems play a supporting role in a people-centered world. The design focus is on services, not things. And new principles--above all, lightness--inform the way these services are designed and used. At the heart of In the Bubble is a belief, informed by a wealth of real-world examples, that ethics and responsibility can inform design decisions without impeding social and technical innovation.

    First published before the World Trade Organization protests in Seattle, this is an infuriating, inspiring, and altogether pioneering work of cultural criticism that investigates money, marketing, and the anti-corporate movement.As global corporations compete for the hearts and wallets of consumers who not only buy their products but willingly advertise them from head to toe—witness today's schoolbooks, superstores, sporting arenas, and brand-name synergy—a new generation has begun to battle consumerism with its own best weapons. In this provocative, well-written study, a front-line report on that battle, we learn how the Nike swoosh has changed from an athletic status-symbol to a metaphor for sweatshop labor, how teenaged McDonald's workers are risking their jobs to join the Teamsters, and how "culture jammers" utilize spray paint, computer-hacking acumen, and anti-propagandist wordplay to undercut the slogans and meanings of billboard ads (as in "Joe Chemo" for "Joe Camel").No Logo will challenge and enlighten students of sociology, economics, popular culture, international affairs, and marketing."This book is not another account of the power of the select group of corporate Goliaths that have gathered to form our de facto global government. Rather, it is an attempt to analyze and document the forces opposing corporate rule, and to lay out the particular set of cultural and economic conditions that made the emergence of that opposition inevitable." —Naomi Klein, from her Introduction

    Together, how do these distort and deform modern political geographies and produce new territories in their own image?In The Stack, Benjamin Bratton proposes that these different genres of computation—smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation—can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental megastructure called The Stack that is both a computational apparatus and a new governing architecture. We are inside The Stack and it is inside of us. In an account that is both theoretical and technical, drawing on political philosophy, architectural theory, and software studies, Bratton explores six layers of The Stack: Earth, Cloud, City, Address, Interface, User. Each is mapped on its own terms and understood as a component within the larger whole built from hard and soft systems intermingling—not only computational forms but also social, human, and physical forces. This model, informed by the logic of the multilayered structure of protocol “stacks,” in which network technologies operate within a modular and vertical order, offers a comprehensive image of our emerging infrastructure and a platform for its ongoing reinvention. The Stack is an interdisciplinary design brief for a new geopolitics that works with and for planetary-scale computation. Interweaving the continental, urban, and perceptual scales, it shows how we can better build, dwell within, communicate with, and govern our worlds.

    Norbert Wiener's classic is one in that small company. Founder of the science of cybernetics—the study of the relationship between computers and the human nervous system—Wiener was widely misunderstood as one who advocated the automation of human life. As this book reveals, his vision was much more complex and interesting. He hoped that machines would release people from relentless and repetitive drudgery in order to achieve more creative pursuits. At the same time he realized the danger of dehumanizing and displacement. His book examines the implications of cybernetics for education, law, language, science, technology, as he anticipates the enormous impact—in effect, a third industrial revolution—that the computer has had on our lives.

    But as the field evolves, designers enter the field from many disciplines. Practitioners today have enough experience in UI design that they have been exposed to design rules, but it is essential that they understand the psychology behind the rules in order to effectively apply them. In "Designing with the Mind in Mind," Jeff Johnson, author of the best selling "GUI Bloopers," provides designers with just enough background in perceptual and cognitive psychology that UI design guidelines make intuitive sense rather than being just a list of rules to follow. * The first practical, all-in-one source for practitioners on user interface design rules and why, when and how to apply them.* Provides just enough background into the reasoning behind interface design rules that practitioners can make informed decisions in every project.* Gives practitioners the insight they need to make educated design decisions when confronted with tradeoffs, including competing design rules, time constrictions, or limited resources.

    It was a movement that embraced flower-power and psychedelic consciousness-expansion, that lionized Ho Chi Minh and Fidel Castro and launched the Black Panthers and the Theater of the Absurd.In Return Of The Primitive (originally published in 1971 as The New Left), Ayn Rand, bestselling novelist and originator of the theory of Objectivism, identified the intellectual roots of this movement. She urged people to repudiate its mindless nihilism and to uphold, instead, a philosophy of reason, individualism, capitalism, and technological progress.Editor Peter Schwartz, in this new, expanded version of The New Left, has reorganized Rand's essays and added some of his own in order to underscore the continuing relevance of her analysis of that period. He examines such current ideologies as feminism, environmentalism and multiculturalism and argues that the same primitive, tribalist, anti-industrial mentality which animated the New Left a generation ago is shaping society today.

    The buildings of Robert Venturi and Michael Graves, among others, are featured.

    This book is about setting the limits of the natural and the limits of the known, wonders and wonder, from the High Middle Ages through the Enlightenment. A history of wonders as objects of natural inquiry is simultaneously an intellectual history of the orders of nature. A history of wonder as a passion of natural inquiry is simultaneously a history of the evolving collective sensibility of naturalists. Pursued in tandem, these interwoven histories show how the two sides of knowledge, objective order and subjective sensibility, were obverse and reverse of the same coin rather than opposed to one another.--From the IntroductionWonders and the Order of Nature, 1150-1750 is about the ways in which European naturalists from the High Middle Ages through the Enlightenment used wonder and wonders, the passion and its objects, to envision themselves and the natural world. Monsters, gems that shone in the dark, petrifying springs, celestial apparitions--these were the marvels that adorned romances, puzzled philosophers, lured collectors, and frightened the devout. Drawing on the histories of art, science, philosophy, and literature, Lorraine Daston and Katharine Park explore and explain how wonder and wonders fortified princely power, rewove the texture of scientific experience, and shaped the sensibility of intellectuals. This is a history of the passions of inquiry, of how wonder sometimes inflamed, sometimes dampened curiosity about nature's best-kept secrets. Refracted through the prism of wonders, the order of nature splinters into a spectrum of orders, a tour of possible worlds.

    The result is described as “a thought-provoking visual feast”.

    Humans have "subdued 75 per cent of the land surface, concocted a wizardry of industrial and medical marvels, strung lights all across the darkness." We now collect the DNA of vanishing species in a "frozen ark," equip orangutans with iPads, create wearable technologies and synthetic species that might one day outsmart us. With her distinctive gift for making scientific discovery intelligible to the layperson, Ackerman takes us on an exciting journey to understand this bewildering new reality, introducing us to many of the people and ideas now creating--perhaps saving--the future.The Human Ageis a surprising, optimistic engagement with the dramatic transformations that have shaped, and continue to alter, our world, our relationship with nature and our prospects for the future.

    Racial imagery and racial representation are central to the organisation of the contemporary world but, while there are many studies of images of black and Asian people, whiteness is an invisible racial position. At the level of racial representation, whites are not of a certain race. They are just the human race, a 'colour' against which other ethnicities are always examined.In White, Richard Dyer looks beyond the apparent unremarkability of whiteness and argues for the importance of analysing images of white people. Dyer traces the representation of whiteness by whites in Western visual culture, focusing on the mass media of photography, advertising, fine art, cinema and television.Dyer examines the representation of whiteness and the white body in the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he discusses the representations of whiteness in muscle-man action cinema, from Italian 'peplum' movies to the Tarzan and Rambo series; shows the construction of whiteness in photography and cinema in the lighting of white and black faces, and analyses the representation of white women in end-of-empire fictions such as The Jewel in the Crown, and traces the disturbing association of whiteness with death, in vampire narratives and dystopian films such as Blade Runner and the Aliens trilogy.

    The User’s Journey will show you how, when, and why to use narrative structure, technique, and principles to ideate, craft, and test a cohesive vision for an engaging outcome. See how a “story first” approach can transform your product, feature, landing page, flow, campaign, content, or product strategy.

    In Blood, Sweat, and Pixels, Jason Schreier takes readers on a fascinating odyssey behind the scenes of video game development, where the creator may be a team of 600 overworked underdogs or a solitary geek genius. Exploring the artistic challenges, technical impossibilities, marketplace demands, and Donkey Kong-sized monkey wrenches thrown into the works by corporate, Blood, Sweat, and Pixels reveals how bringing any game to completion is more than Sisyphean—it's nothing short of miraculous.Taking some of the most popular, bestselling recent games, Schreier immerses readers in the hellfire of the development process, whether it's RPG studio Bioware's challenge to beat an impossible schedule and overcome countless technical nightmares to build Dragon Age: Inquisition; indie developer Eric Barone's single-handed efforts to grow country-life RPG Stardew Valley from one man's vision into a multi-million-dollar franchise; or Bungie spinning out from their corporate overlords at Microsoft to create Destiny, a brand new universe that they hoped would become as iconic as Star Wars and Lord of the Rings—even as it nearly ripped their studio apart. Documenting the round-the-clock crunches, buggy-eyed burnout, and last-minute saves, Blood, Sweat, and Pixels is a journey through development hell—and ultimately a tribute to the dedicated diehards and unsung heroes who scale mountains of obstacles in their quests to create the best games imaginable.

    Meanwhile, people with important ideas--entrepreneurs, teachers, politicians, and journalists--struggle to make them "stick."In Made to Stick, Chip and Dan Heath reveal the anatomy of ideas that stick and explain ways to make ideas stickier, such as applying the human scale principle, using the Velcro Theory of Memory, and creating curiosity gaps. Along the way, we discover that sticky messages of all kinds--from the infamous "kidney theft ring" hoax to a coach's lessons on sportsmanship to a vision for a new product at Sony--draw their power from the same six traits.Made to Stick will transform the way you communicate. It's a fast-paced tour of success stories (and failures): the Nobel Prize-winning scientist who drank a glass of bacteria to prove a point about stomach ulcers; the charities who make use of the Mother Teresa Effect; the elementary-school teacher whose simulation actually prevented racial prejudice.Provocative, eye-opening, and often surprisingly funny, Made to Stick shows us the vital principles of winning ideas--and tells us how we can apply these rules to making our own messages stick.