Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    Full of insights, arguments and philosophical perspectives, the book covers an amazing array of topics. Beginning in antiquity with Democritus, it progresses through logic and set theory, computability and complexity theory, quantum computing, cryptography, the information content of quantum states and the interpretation of quantum mechanics. There are also extended discussions about time travel, Newcomb's Paradox, the anthropic principle and the views of Roger Penrose. Aaronson's informal style makes this fascinating book accessible to readers with scientific backgrounds, as well as students and researchers working in physics, computer science, mathematics and philosophy.

    The result is nothing less than an archaeology of the sciences that unearths old patterns of meaning and reveals the shocking arbitrariness of our received truths.In the work that established him as the most important French thinker since Sartre, Michel Foucault offers startling evidence that “man”—man as a subject of scientific knowledge—is at best a recent invention, the result of a fundamental mutation in our culture.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    Brian Greene, one of the world's leading string theorists, peels away the layers of mystery surrounding string theory to reveal a universe that consists of eleven dimensions, where the fabric of space tears and repairs itself, and all matter—from the smallest quarks to the most gargantuan supernovas—is generated by the vibrations of microscopically tiny loops of energy.Today physicists and mathematicians throughout the world are feverishly working on one of the most ambitious theories ever proposed: superstring theory. String theory, as it is often called, is the key to the Unified Field Theory that eluded Einstein for more than thirty years. Finally, the century-old antagonism between the large and the small-General Relativity and Quantum Theory-is resolved. String theory proclaims that all of the wondrous happenings in the universe, from the frantic dancing of subatomic quarks to the majestic swirling of heavenly galaxies, are reflections of one grand physical principle and manifestations of one single entity: microscopically tiny vibrating loops of energy, a billionth of a billionth the size of an atom. In this brilliantly articulated and refreshingly clear book, Greene relates the scientific story and the human struggle behind twentieth-century physics' search for a theory of everything.Through the masterful use of metaphor and analogy, The Elegant Universe makes some of the most sophisticated concepts ever contemplated viscerally accessible and thoroughly entertaining, bringing us closer than ever to understanding how the universe works.

    In this lavishlyillustrated style compendium, InStyle magazinefashion director Hal Rubenstein reveals the fascinating origins and legacies ofthe most stunning dresses ever created. Perfect for backstage story snoops,gossip lovers, die-hard shoppers, and pop culture mavens who can't get enoughof these indelible, once-in-a-lifetime creations, 100 Unforgettable Dresses willchange the way you think about couture forever.

    That’s the message from Austin Kleon, a young writer and artist who knows that creativity is everywhere, creativity is for everyone. A manifesto for the digital age, Steal Like an Artist is a guide whose positive message, graphic look and illustrations, exercises, and examples will put readers directly in touch with their artistic side.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    But there is one other motive which is as strong as any of these — the search for beauty. Mathematics is an art, and as such affords the pleasures which all the arts afford." In this erudite, entertaining college-level text, Morris Kline, Professor Emeritus of Mathematics at New York University, provides the liberal arts student with a detailed treatment of mathematics in a cultural and historical context. The book can also act as a self-study vehicle for advanced high school students and laymen. Professor Kline begins with an overview, tracing the development of mathematics to the ancient Greeks, and following its evolution through the Middle Ages and the Renaissance to the present day. Subsequent chapters focus on specific subject areas, such as "Logic and Mathematics," "Number: The Fundamental Concept," "Parametric Equations and Curvilinear Motion," "The Differential Calculus," and "The Theory of Probability." Each of these sections offers a step-by-step explanation of concepts and then tests the student's understanding with exercises and problems. At the same time, these concepts are linked to pure and applied science, engineering, philosophy, the social sciences or even the arts.In one section, Professor Kline discusses non-Euclidean geometry, ranking it with evolution as one of the "two concepts which have most profoundly revolutionized our intellectual development since the nineteenth century." His lucid treatment of this difficult subject starts in the 1800s with the pioneering work of Gauss, Lobachevsky, Bolyai and Riemann, and moves forward to the theory of relativity, explaining the mathematical, scientific and philosophical aspects of this pivotal breakthrough. Mathematics for the Nonmathematician exemplifies Morris Kline's rare ability to simplify complex subjects for the nonspecialist.

    The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    The Dream of Enlightenment tells their story and that of the birth of modern philosophy. What does the advance of science entail for our understanding of ourselves and for our ideas of God? How should a government deal with religious diversity - and what is government actually for? Their questions remain our questions, and it is tempting to think these philosophers speak our language and live in our world; but to understand them properly, we must step back into their shoes. Gottlieb puts readers in the minds of these frequently misinterpreted figures, elucidating the history of their times while engagingly explaining their arguments and assessing their legacy. Gottlieb creates a sweeping account of what they amounted to, and why we are still in their debt.

    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.

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.

    Even though the glass ceiling is cracked, most women stay comfortably beneath it, and everywhere we hear about vitally important “hardwired” differences between male and female brains. The neuroscience we read about in magazines, newspaper articles, books, and sometimes even scientific journals increasingly tells a tale of two brains, and the result is more often than not a validation of the status quo. Women, it seems, are just too intuitive for math, men too focused for housework.Drawing on the latest research in neuroscience and psychology, Cordelia Fine debunks the myth of hardwired differences between men’s and women’s brains, unraveling the evidence behind such claims as men’s brains aren’t wired for empathy, and women’s brains aren’t made to fix cars. She then goes one step further, offering a very different explanation of the dissimilarities between men’s and women’s behavior. Instead of a “male brain” and a “female brain,” Fine gives us a glimpse of plastic, mutable minds that are continuously influenced by cultural assumptions about gender.Delusions of Gender provides us with a much-needed corrective to the belief that men’s and women’s brains are intrinsically different--a belief that, as Fine shows with insight and humor--all too often works to the detriment of ourselves and our society.