In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.

    Yet for all the talk about the democratizing power of the Internet, regimes in Iran and China are as stable and repressive as ever. In fact, authoritarian governments are effectively using the Internet to suppress free speech, hone their surveillance techniques, disseminate cutting-edge propaganda, and pacify their populations with digital entertainment. Could the recent Western obsession with promoting democracy by digital means backfire?In this spirited book, journalist and social commentator Evgeny Morozov shows that by falling for the supposedly democratizing nature of the Internet, Western do-gooders may have missed how it also entrenches dictators, threatens dissidents, and makes it harder - not easier - to promote democracy. Buzzwords like "21st-century statecraft" sound good in PowerPoint presentations, but the reality is that "digital diplomacy" requires just as much oversight and consideration as any other kind of diplomacy.Marshaling compelling evidence, Morozov shows why we must stop thinking of the Internet and social media as inherently liberating and why ambitious and seemingly noble initiatives like the promotion of "Internet freedom" might have disastrous implications for the future of democracy as a whole.

    In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.

    Harvard Professor Lawrence Lessig warns that, if we're not careful we'll wake up one day to discover that the character of cyberspace has changed from under us. Cyberspace will no longer be a world of relative freedom; instead it will be a world of perfect control where our identities, actions, and desires are monitored, tracked, and analyzed for the latest market research report. Commercial forces will dictate the change, and architecture—the very structure of cyberspace itself—will dictate the form our interactions can and cannot take. Code And Other Laws of Cyberspace is an exciting examination of how the core values of cyberspace as we know it—intellectual property, free speech, and privacy-—are being threatened and what we can do to protect them. Lessig shows how code—the architecture and law of cyberspace—can make a domain, site, or network free or restrictive; how technological architectures influence people's behavior and the values they adopt; and how changes in code can have damaging consequences for individual freedoms. Code is not just for lawyers and policymakers; it is a must-read for everyone concerned with survival of democratic values in the Information Age.

    Now, in his first book, written more than two decades after the web was created, Lanier offers this provocative and cautionary look at the way it is transforming our lives for better and for worse.The current design and function of the web have become so familiar that it is easy to forget that they grew out of programming decisions made decades ago. The web’s first designers made crucial choices (such as making one’s presence anonymous) that have had enormous—and often unintended—consequences. What’s more, these designs quickly became “locked in,” a permanent part of the web’s very structure. Lanier discusses the technical and cultural problems that can grow out of poorly considered digital design and warns that our financial markets and sites like Wikipedia, Facebook, and Twitter are elevating the “wisdom” of mobs and computer algorithms over the intelligence and judgment of individuals. Lanier also shows:How 1960s antigovernment paranoia influenced the design of the online world and enabled trolling and trivialization in online discourseHow file sharing is killing the artistic middle class;How a belief in a technological “rapture” motivates some of the most influential technologistsWhy a new humanistic technology is necessary. Controversial and fascinating, You Are Not a Gadget is a deeply felt defense of the individual from an author uniquely qualified to comment on the way technology interacts with our culture.

    The story of information begins in a time profoundly unlike our own, when every thought and utterance vanishes as soon as it is born. From the invention of scripts and alphabets to the long-misunderstood talking drums of Africa, Gleick tells the story of information technologies that changed the very nature of human consciousness. He provides portraits of the key figures contributing to the inexorable development of our modern understanding of information: Charles Babbage, the idiosyncratic inventor of the first great mechanical computer; Ada Byron, the brilliant and doomed daughter of the poet, who became the first true programmer; pivotal figures like Samuel Morse and Alan Turing; and Claude Shannon, the creator of information theory itself. And then the information age arrives. Citizens of this world become experts willy-nilly: aficionados of bits and bytes. And we sometimes feel we are drowning, swept by a deluge of signs and signals, news and images, blogs and tweets. The Information is the story of how we got here and where we are heading.

    The average young person in the UK will spend 10,000 hours gaming by the age of twenty-one. What's causing this mass exodus? According to world-renowned game designer Jane McGonigal the answer is simple: videogames are fulfilling genuine human needs. Drawing on positive psychology, cognitive science and sociology, Reality is Broken shows how game designers have hit on core truths about what makes us happy, and utilized these discoveries to astonishing effect in virtual environments. But why, McGonigal asks, should we use the power of games for escapist entertainment alone? In this groundbreaking exploration of the power and future of gaming, she reveals how gamers have become expert problem solvers and collaborators, and shows how we can use the lessons of game design to socially positive ends, be it in our own lives, our communities or our businesses. Written for gamers and non-gamers alike, Reality is Broken sends a clear and provocative message: the future will belong to those who can understand, design and play games.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.   In actual fact, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the accessibility of information, we’re living in a new Dark Age.   From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.   In his brilliant new work, leading artist and writer James Bridle excavates the limits of technology and how it aids our understanding of the world. Surveying the history of art, technology, and information systems, he explores the dark clouds that gather over our dreams of the digital sublime.

    Wolfram lets the world see his work in A New Kind of Science, a gorgeous, 1,280-page tome more than a decade in the making. With patience, insight, and self-confidence to spare, Wolfram outlines a fundamental new way of modeling complex systems. On the frontier of complexity science since he was a boy, Wolfram is a champion of cellular automata--256 "programs" governed by simple nonmathematical rules. He points out that even the most complex equations fail to accurately model biological systems, but the simplest cellular automata can produce results straight out of nature--tree branches, stream eddies, and leopard spots, for instance. The graphics in A New Kind of Science show striking resemblance to the patterns we see in nature every day. Wolfram wrote the book in a distinct style meant to make it easy to read, even for nontechies; a basic familiarity with logic is helpful but not essential. Readers will find themselves swept away by the elegant simplicity of Wolfram's ideas and the accidental artistry of the cellular automaton models. Whether or not Wolfram's revolution ultimately gives us the keys to the universe, his new science is absolutely awe-inspiring. --Therese Littleton

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    Bleak tools of the cold war, they embodied the rigid organization and mechanical conformity that made the military-industrial complex possible. But by the 1990s—and the dawn of the Internet—computers started to represent a very different kind of world: a collaborative and digital utopia modeled on the communal ideals of the hippies who so vehemently rebelled against the cold war establishment in the first place. From Counterculture to Cyberculture is the first book to explore this extraordinary and ironic transformation. Fred Turner here traces the previously untold story of a highly influential group of San Francisco Bay–area entrepreneurs: Stewart Brand and the Whole Earth network. Between 1968 and 1998, via such familiar venues as the National Book Award–winning Whole Earth Catalog, the computer conferencing system known as WELL, and, ultimately, the launch of the wildly successful Wired magazine, Brand and his colleagues brokered a long-running collaboration between San Francisco flower power and the emerging technological hub of Silicon Valley. Thanks to their vision, counterculturalists and technologists alike joined together to reimagine computers as tools for personal liberation, the building of virtual and decidedly alternative communities, and the exploration of bold new social frontiers. Shedding new light on how our networked culture came to be, this fascinating book reminds us that the distance between the Grateful Dead and Google, between Ken Kesey and the computer itself, is not as great as we might think.

    Negroponte's fans will want to get a copy of Being Digital, which is an edited version of the 18 articles he wrote for Wired about "being digital." Negroponte's text is mostly a history of media technology rather than a set of predictions for future technologies. In the beginning, he describes the evolution of CD-ROMs, multimedia, hypermedia, HDTV (high-definition television), and more. The section on interfaces is informative, offering an up-to-date history on visual interfaces, graphics, virtual reality (VR), holograms, teleconferencing hardware, the mouse and touch-sensitive interfaces, and speech recognition. In the last chapter and the epilogue, Negroponte offers visionary insight on what "being digital" means for our future. Negroponte praises computers for their educational value but recognizes certain dangers of technological advances, such as increased software and data piracy and huge shifts in our job market that will require workers to transfer their skills to the digital medium. Overall, Being Digital provides an informative history of the rise of technology and some interesting predictions for its future.

    From the book:"My aim is not provide a comprehensive history of cultural software in general, or media authoring software in particular. Nor do I aim to discuss all new creative techniques it enables across different cultural fields. Instead, I will trace a particular path through this history that will take us from 1960 to today and which will pass through some of its most crucial points."