But the deeper history of Amsterdam, what makes it one of the most fascinating places on earth, is bound up in its unique geography-the constant battle of its citizens to keep the sea at bay and the democratic philosophy that this enduring struggle fostered. Amsterdam is the font of liberalism, in both its senses. Tolerance for free thinking and free love make it a place where, in the words of one of its mayors, "craziness is a value." But the city also fostered the deeper meaning of liberalism, one that profoundly influenced America: political and economic freedom. Amsterdam was home not only to religious dissidents and radical thinkers but to the world's first great global corporation. In this effortlessly erudite account, Russell Shorto traces the idiosyncratic evolution of Amsterdam, showing how such disparate elements as herring anatomy, naked Anabaptists parading through the streets, and an intimate gathering in a sixteenth-century wine-tasting room had a profound effect on Dutch-and world-history. Weaving in his own experiences of his adopted home, Shorto provides an ever-surprising, intellectually engaging story of Amsterdam from the building of its first canals in the 1300s, through its brutal struggle for independence, its golden age as a vast empire, to its complex present in which its cherished ideals of liberalism are under siege.

    But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present.Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

    VIDEO TRAINING. 12+ HOURS of searchable video training (requires Internet access). If you learn better from videos, watch the videos and use the ebook only for quick reference. If you learn better from books, read the ebook and refer to the videos to see the author demonstrate real world editing techniques. This much video training usually costs over $100 or requires a monthly subscription. 2. 150+ PRESETS. Jump-start your creativity by using the included presets to give your pictures a unique look. Others charge over $200 for this many presets! 3. 50+ RAW PICTURE FILES. Work alongside many of the book's examples, or just learn by experimenting with professional photos. 4. TEACHER & PEER SUPPORT. After buying the book, you get access to the private group on Facebook where you can ask the questions and post pictures for feedback from Tony, Chelsea, and other readers. It’s like being able to raise your hand in class and ask a question! Instructions are in the introduction. With this video book, you ll learn how to instantly find any picture in your library, fix common photography problems, clean up your images, add pop to boring pictures, retouch portraits, make gorgeous prints, create photo books, and even edit your home videos. Tony goes beyond teaching you how to use Lightroom. Tony shows you why and when to use each feature to create stunning, natural photos. When Lightroom is not the best tool, Tony suggests better alternatives. Tony covers every aspect of Lightroom in-depth, but structures his teaching so that both beginner and advanced photographers can learn as efficiently as possible. If you just want a quick start, you can watch the first video or read the first chapter and you'll be organizing and editing your pictures in less than an hour. If you want to know more about a specific feature, switch to that video or jump to that chapter in the ebook. If you want to know everything about Lightroom, watch the videos and read the book from start to finish.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    Ingrid D. Rowland’s pathbreaking life of Bruno establishes him once and for all as a peer of Erasmus, Shakespeare, and Galileo, a thinker whose vision of the world prefigures ours.By the time Bruno was burned at the stake as a heretic in 1600 on Rome’s Campo dei Fiori, he had taught in Naples, Rome, Venice, Geneva, France, England, Germany, and the “magic Prague” of Emperor Rudolph II. His powers of memory and his provocative ideas about the infinity of the universe had attracted the attention of the pope, Queen Elizabeth—and the Inquisition, which condemned him to death in Rome as part of a yearlong jubilee.Writing with great verve and sympathy for her protagonist, Rowland traces Bruno’s wanderings through a sixteenth-century Europe where every certainty of religion and philosophy had been called into question and shows him valiantly defending his ideas (and his right to maintain them) to the very end. An incisive, independent thinker just when natural philosophy was transformed into modern science, he was also a writer of sublime talent. His eloquence and his courage inspired thinkers across Europe, finding expression in the work of Shakespeare and Galileo.Giordano Bruno allows us to encounter a legendary European figure as if for the first time.

    From the funny memes that we send to our friends to the disturbing photographs we see in the news, we are consuming and producing images in quantities and ways that could never have been anticipated. In the process, we are producing a new worldview powered by changing demographics -- one where the majority of people are young, urban, and globally connected. In How to See the World, visual culture expert Nicholas Mirzoeff offers a sweeping look at history's most famous images -- from Velezquez's Las Meninas to the iconic "Blue Marble" -- to contextualize and make sense of today's visual world. Drawing on art history, sociology, semiotics, and everyday experience, he teaches us how to close read everything from astronaut selfies to Impressionist self-portraits, from Hitchcock films to videos taken by drones. Mirzoeff takes us on a journey through visual revolutions in the arts and sciences, from new mapping techniques in the seventeenth century to new painting styles in the eighteenth and the creation of film, photography, and x-rays in the nineteenth century. In today's networked world, mobile technology and social media enable us to exercise "visual activism" -- the practice of producing and circulating images to drive political and social change. Whether we are looking at pictures showing the effects of climate change on natural and urban landscapes or an fMRI scan demonstrating neurological addiction, Mirzoeff helps us to find meaning in what we see. A powerful and accessible introduction to this new visual culture, How to See the World reveals how images shape our lives, how we can harness their power for good, and why they matter to us all.

    Lessig reveals the solutions to this impasse offered by a collaborative yet profitable “hybrid economy”.Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war—a war waged against our kids and others who create and consume art. America’s copyright laws have ceased to perform their original, beneficial role: protecting artists’ creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions. For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of today’s most talented artists are felons, and so are our kids, who see no reason why they shouldn’t do what their computers and the Web let them do, from burning a copyrighted CD for a friend to “biting” riffs from films, videos, songs, etc and making new art from them.Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflict—a war as ill conceived and unwinnable as the war on drugs. By embracing “read-write culture,” which allows its users to create art as readily as they consume it, we can ensure that creators get the support—artistic, commercial, and ethical—that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the “sharing economy” evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm—from news to music—and Lessig shows how we can and should use it to benefit those who make and consume culture.Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.

    This is a book about how many of the 'big' philosophical and religious questions that have puzzled mankind for centuries can be answered by recent breakthroughs in science.

    In this unparalleled book, Marshall Berman takes account of the social changes that swept millions of people into the capitalist world and the impact of modernism on art, literature and architecture. This new edition contains an updated preface addressing the critical role the onset of modernism played in popular democratic upheavals in the late 1920s.

    It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

    Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z. The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In "Why I Am a Five Percenter," Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought. Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In "Why I Am a Five Percenter," Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

    By contrast, Jewish religious leaders in the sixth century B.C.E. branded male homosexuality as a capital offense and, later, blamed it for the destruction of the biblical city of Sodom. When these two traditions collided in Christian Rome during the late empire, the tragic repercussions were felt throughout Europe and the New World.Louis Crompton traces Church-inspired mutilation, torture, and burning of "sodomites" in sixth-century Byzantium, medieval France, Renaissance Italy, and in Spain under the Inquisition. But Protestant authorities were equally committed to the execution of homosexuals in the Netherlands, Calvin's Geneva, and Georgian England. The root cause was religious superstition, abetted by political ambition and sheer greed. Yet from this cauldron of fears and desires, homoerotic themes surfaced in the art of the Renaissance masters--Donatello, Leonardo, Michelangelo, Sodoma, Cellini, and Caravaggio--often intertwined with Christian motifs. Homosexuality also flourished in the court intrigues of Henry III of France, Queen Christina of Sweden, James I and William III of England, Queen Anne, and Frederick the Great.Anti-homosexual atrocities committed in the West contrast starkly with the more tolerant traditions of pre-modern China and Japan, as revealed in poetry, fiction, and art and in the lives of emperors, shoguns, Buddhist priests, scholars, and actors. In the samurai tradition of Japan, Crompton makes clear, the celebration of same-sex love rivaled that of ancient Greece.Sweeping in scope, elegantly crafted, and lavishly illustrated, "Homosexuality and Civilization" is a stunning exploration of a rich and terrible past.

    "One of today's best popularizers of science." —Kirkus Reviews.Loyal readers of the monthly "Universe" essays in Natural History magazine have long recognized Neil deGrasse Tyson's talent for guiding them through the mysteries of the cosmos with stunning clarity and almost childlike enthusiasm. Here, Tyson compiles his favorite essays across a myriad of cosmic topics. The title essay introduces readers to the physics of black holes by explaining the gory details of what would happen to your body if you fell into one. "Holy Wars" examines the needless friction between science and religion in the context of historical conflicts. "The Search for Life in the Universe" explores astral life from the frontiers of astrobiology. And "Hollywood Nights" assails the movie industry's feeble efforts to get its night skies right. Known for his ability to blend content, accessibility, and humor, Tyson is a natural teacher who simplifies some of the most complex concepts in astrophysics while simultaneously sharing his infectious excitement about our universe.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    Ronald L. Numbers chronicles the astonishing resurgence of this belief since the 1960s, as well as the creationist movement's tangled religious roots in the theologies of late-nineteenth - and early twentieth century Baptists, Presbyterians, Lutherans, Adventists, and other religious groups. Even more remarkable than Numbers's story of today's widespread rejection of the theory of evolution is the dramatic shift from acceptance of the earth's antiquity (even for William Jennings Bryan the biblical "days" of Genesis represented long geological ages) to the insistence of present-day scientific creationists that most fossils date back to Noah's flood and its aftermath, and that the earth itself is no more than ten thousand years old. The author focuses especially on the rise of this "flood geology, " popularized in 1961 by John Whitcomb and Henry Morris's book, The Genesis Flood, which defended the theory that creation took place in six literal days, and updated the old arguments purporting to prove that a geologically significant worldwide flood actually took place. Numbers gives particular attention to the development of creation research institutes and societies, and to those creationists - including the half of the founders of the Creation Research Society with doctorates in biology - who possessed, or claimed to possess, scientific credentials. On the basis of dozens of interviews and scores of little-known manuscript collections, Numbers delineates the competing scientific and biblicalinterpretations, and reports on the debates between creationists and evolutionists - in courthouses, legislative halls, and on school boards - over the boundaries between science and religion. He traces the evolution of scientific creationism up to our own time and shows how the creationist