But as architect William McDonough and chemist Michael Braungart point out in this provocative, visionary book, such an approach only perpetuates the one-way, "cradle to grave" manufacturing model, dating to the Industrial Revolution, that creates such fantastic amounts of waste and pollution in the first place. Why not challenge the belief that human industry must damage the natural world? In fact, why not take nature itself as our model for making things? A tree produces thousands of blossoms in order to create another tree, yet we consider its abundance not wasteful but safe, beautiful, and highly effective.Waste equals food. Guided by this principle, McDonough and Braungart explain how products can be designed from the outset so that, after their useful lives, they will provide nourishment for something new. They can be conceived as "biological nutrients" that will easily reenter the water or soil without depositing synthetic materials and toxins. Or they can be "technical nutrients" that will continually circulate as pure and valuable materials within closed-loop industrial cycles, rather than being "recycled" -- really, downcycled -- into low-grade materials and uses. Drawing on their experience in (re)designing everything from carpeting to corporate campuses, McDonough and Braungart make an exciting and viable case for putting eco-effectiveness into practice, and show how anyone involved with making anything can begin to do as well.

    Increasingly, the decisions that affect our lives--where we go to school, whether we can get a job or a loan, how much we pay for health insurance--are being made not by humans, but by machines. In theory, this should lead to greater fairness: Everyone is judged according to the same rules.But as mathematician and data scientist Cathy O'Neil reveals, the mathematical models being used today are unregulated and uncontestable, even when they're wrong. Most troubling, they reinforce discrimination--propping up the lucky, punishing the downtrodden, and undermining our democracy in the process.

    From the transistor to the laser, it s hard to find an aspect of modern life that hasn t been touched by Bell Labs. Why did so many transformative ideas come from Bell Labs? In "The Idea Factory," Jon Gertner traces the origins of some of the twentieth century s most important inventions and delivers a riveting and heretofore untold chapter of American history. At its heart this is a story about the life and work of a small group of brilliant and eccentric men Mervin Kelly, Bill Shockley, Claude Shannon, John Pierce, and Bill Baker who spent their careers at Bell Labs. Their job was to research and develop the future of communications. Small-town boys, childhood hobbyists, oddballs: they give the lie to the idea that Bell Labs was a grim cathedral of top-down command and control.Gertner brings to life the powerful alchemy of the forces at work behind Bell Labs inventions, teasing out the intersections between science, business, and society. He distills the lessons that abide: how to recruit and nurture young talent; how to organize and lead fractious employees; how to find solutions to the most stubbornly vexing problems; how to transform a scientific discovery into a marketable product, then make it even better, cheaper, or both. Today, when the drive to invent has become a mantra, Bell Labs offers us a way to enrich our understanding of the challenges and solutions to technological innovation. Here, after all, was where the foundational ideas on the management of innovation were born. "The Idea Factory" is the story of the origins of modern communications and the beginnings of the information age a deeply human story of extraordinary men who were given extraordinary means time, space, funds, and access to one another and edged the world into a new dimension."

    Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.Grand Hotel Abyss combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu.After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin.By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.

    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

    In Human-Built World, thankfully, Thomas Hughes restores to technology the conceptual richness and depth it deserves by chronicling the ideas about technology expressed by influential Western thinkers who not only understood its multifaceted character but who also explored its creative potential.Hughes draws on an enormous range of literature, art, and architecture to explore what technology has brought to society and culture, and to explain how we might begin to develop an "ecotechnology" that works with, not against, ecological systems. From the "Creator" model of development of the sixteenth century to the "big science" of the 1940s and 1950s to the architecture of Frank Gehry, Hughes nimbly charts the myriad ways that technology has been woven into the social and cultural fabric of different eras and the promises and problems it has offered. Thomas Jefferson, for instance, optimistically hoped that technology could be combined with nature to create an Edenic environment; Lewis Mumford, two centuries later, warned of the increasing mechanization of American life.Such divergent views, Hughes shows, have existed side by side, demonstrating the fundamental idea that "in its variety, technology is full of contradictions, laden with human folly, saved by occasional benign deeds, and rich with unintended consequences." In Human-Built World, he offers the highly engaging history of these contradictions, follies, and consequences, a history that resurrects technology, rightfully, as more than gadgetry; it is in fact no less than an embodiment of human values.

    There's a wonderful mix of science, history and wit, all in bite-sized chapters on a broad range of topics.Urgent and essential, Numbers Don't Lie inspires readers to interrogate what they take to be true in these significant times. Smil is on a mission to make facts matter, because after all, numbers may not lie, but which truth do they convey?'The best book to read to better understand our world. Once in a while a book comes along that helps us see our planet more clearly. By showing us numbers about science, health, green technology and more, Smil's book does just that. It should be on every bookshelf!' Linda Yueh, author of The Great Economists'He is rigorously numeric, using data to illuminate every topic he writes about. The word "polymath" was invented to describe people like him' Bill Gates 'Important' Mark Zuckerberg, on Energy 'One of the world's foremost thinkers on development history and a master of statistical analysis . . . The nerd's nerd' Guardian 'There is perhaps no other academic who paints pictures with numbers like Smil' Guardian 'In a world of specialized intellectuals, Smil is an ambitious and astonishing polymath who swings for fences . . . They're among the most data-heavy books you'll find, with a remarkable way of framing basic facts' Wired 'He's a slayer of bullshit' David Keith, Gordon McKay Professor of Applied Physics & Professor of Public Policy, Harvard UniversityVaclav Smil is Distinguished Professor Emeritus at the University of Manitoba. He is the author of over forty books on topics including energy, environmental and population change, food production and nutrition, technical innovation, risk assessment and public policy. No other living scientist has had more books (on a wide variety of topics) reviewed in Nature. A Fellow of the Royal Society of Canada, in 2010 he was named by Foreign Policy as one of the Top 100 Global Thinkers. This is his first book for a more general readership.

    In seventy-six chapters he traces philosophy from the rise of Greek civilization to the emergence of logical analysis in the twentieth century. Among the philosophers considered are: Pythagoras, Heraclitus, Parmenides, Empedocles, Anaxagoras, the Atomists, Protagoras, Socrates, Plato, Aristotle, the Cynics, the Sceptics, the Epicureans, the Stoics, Plotinus, Ambrose, Jerome, Augustine, Benedict, Gregory the Great, John the Scot, Aquinas, Duns Scotus, William of Occam, Machiavelli, Erasmus, More, Bacon, Hobbes, Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, Rousseau, Kant, Hegel, Schopenhauer, Nietzsche, the Utilitarians, Marx, Bergson, James, Dewey, and lastly the philosophers with whom Lord Russell himself is most closely associated -- Cantor, Frege, and Whitehead, co-author with Russell of the monumental Principia Mathematica.

    It has influenced a generation of students and critics interested in the formation of attitudes, themes, and forms which were characteristic of artists and architects working primarily in Europe between 1900 and 1930 under the compulsion of new technological developments in the first machine age.

    This view was at the core of the compact between government and science that led to the golden age of scientific research after World War II—a compact that is currently under severe stress. In this book, Donald Stokes challenges Bush's view and maintains that we can only rebuild the relationship between government and the scientific community when we understand what is wrong with that view.Stokes begins with an analysis of the goals of understanding and use in scientific research. He recasts the widely accepted view of the tension between understanding and use, citing as a model case the fundamental yet use-inspired studies by which Louis Pasteur laid the foundations of microbiology a century ago. Pasteur worked in the era of the "second industrial revolution," when the relationship between basic science and technological change assumed its modern form. Over subsequent decades, technology has been increasingly science-based. But science has been increasingly technology-based--with the choice of problems and the conduct of research often inspired by societal needs. An example is the work of the quantum-effects physicists who are probing the phenomena revealed by the miniaturization of semiconductors from the time of the transistor's discovery after World War II.On this revised, interactive view of science and technology, Stokes builds a convincing case that by recognizing the importance of use-inspired basic research we can frame a new compact between science and government. His conclusions have major implications for both the scientific and policy communities and will be of great interest to those in the broader public who are troubled by the current role of basic science in American democracy.

    The Structure of Scientific Revolutions is that kind of book. When it was first published in 1962, it was a landmark event in the history and philosophy of science. Fifty years later, it still has many lessons to teach. With The Structure of Scientific Revolutions, Kuhn challenged long-standing linear notions of scientific progress, arguing that transformative ideas don’t arise from the day-to-day, gradual process of experimentation and data accumulation but that the revolutions in science, those breakthrough moments that disrupt accepted thinking and offer unanticipated ideas, occur outside of “normal science,” as he called it. Though Kuhn was writing when physics ruled the sciences, his ideas on how scientific revolutions bring order to the anomalies that amass over time in research experiments are still instructive in our biotech age. This new edition of Kuhn’s essential work in the history of science includes an insightful introduction by Ian Hacking, which clarifies terms popularized by Kuhn, including paradigm and incommensurability, and applies Kuhn’s ideas to the science of today. Usefully keyed to the separate sections of the book, Hacking’s introduction provides important background information as well as a contemporary context.  Newly designed, with an expanded index, this edition will be eagerly welcomed by the next generation of readers seeking to understand the history of our perspectives on science.

    Continuously in print since 1932, Ortega's vision of Western culture as sinking to its lowest common denominator and drifting toward chaos brought its author international fame and has remained one of the influential books of the 20th century.

    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.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    Peter Watson has produced a fluent and engaging narrative of the intellectual tradition of the twentieth century, and the men and women who created it.