In it, Berger and Luckmann reformulate the task of the sociological subdicipline that, since Max Scheler, has been known as the sociology of knowledge.

    It is about where art in the widest sense comes from. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. Free Play is directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity. Filled with unusual quotes, amusing and illuminating anecdotes, and original metaphors, it reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured by certain unavoidable facts of life, and how finally it can be liberated - how we can be liberated - to speak or sing, write or paint, dance or play, with our own authentic voice. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. It brings us into direct, active contact with boundless creative energies that we may not even know we had.

    Yalom describes his patients' struggles -- as well as his own -- to come to terms with the two great challenges of existence: how to have a meaningful life yet reckon with its inevitable end. We meet a nurse who must stifle the pain of losing her son in order to comfort her patients' pains, a newly minted psychologist whose studies damage her treasured memories of a lost friend, and a man whose rejection of psychological inquiry forces even Yalom himself into a crisis of confidence. Creatures of a Day is a radically honest statement about the difficulties of human life, but also a celebration of some of the finest fruits -- love, family, friendship -- it can offer. Marcus Aurelius has written that "we are all creatures of a day." With Yalom as our guide, we will find the means to make our own day not only bearable, but also meaningful and joyful.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    He also crystallized one of the most important debates of our time: As we enjoy the Net’s bounties, are we sacrificing our ability to read and think deeply?Now, Carr expands his argument into the most compelling exploration of the Internet’s intellectual and cultural consequences yet published. As he describes how human thought has been shaped through the centuries by “tools of the mind”—from the alphabet to maps, to the printing press, the clock, and the computer—Carr interweaves a fascinating account of recent discoveries in neuroscience by such pioneers as Michael Merzenich and Eric Kandel. Our brains, the historical and scientific evidence reveals, change in response to our experiences. The technologies we use to find, store, and share information can literally reroute our neural pathways.Building on the insights of thinkers from Plato to McLuhan, Carr makes a convincing case that every information technology carries an intellectual ethic—a set of assumptions about the nature of knowledge and intelligence. He explains how the printed book served to focus our attention, promoting deep and creative thought. In stark contrast, the Internet encourages the rapid, distracted sampling of small bits of information from many sources. Its ethic is that of the industrialist, an ethic of speed and efficiency, of optimized production and consumption—and now the Net is remaking us in its own image. We are becoming ever more adept at scanning and skimming, but what we are losing is our capacity for concentration, contemplation, and reflection.Part intellectual history, part popular science, and part cultural criticism, The Shallows sparkles with memorable vignettes—Friedrich Nietzsche wrestling with a typewriter, Sigmund Freud dissecting the brains of sea creatures, Nathaniel Hawthorne contemplating the thunderous approach of a steam locomotive—even as it plumbs profound questions about the state of our modern psyche. This is a book that will forever alter the way we think about media and our minds.

    This is the central idea of Escape from Freedom, a landmark work by one of the most distinguished thinkers of our time, and a book that is as timely now as when first published in 1941. Few books have thrown such light upon the forces that shape modern society or penetrated so deeply into the causes of authoritarian systems. If the rise of democracy set some people free, at the same time it gave birth to a society in which the individual feels alienated and dehumanized. Using the insights of psychoanalysis as probing agents, Fromm's work analyzes the illness of contemporary civilization as witnessed by its willingness to submit to totalitarian rule.

    Now, in his most comprehensive book yet on the topic, Buzan reveals exciting new ways to improve one's memory, concentration, creativity, ability to learn, and more.

    Engineering professor Barbara Oakley knows firsthand how it feels to struggle with math. She flunked her way through high school math and science courses, before enlisting in the army immediately after graduation. When she saw how her lack of mathematical and technical savvy severely limited her options—both to rise in the military and to explore other careers—she returned to school with a newfound determination to re-tool her brain to master the very subjects that had given her so much trouble throughout her entire life. In A Mind for Numbers, Dr. Oakley lets us in on the secrets to effectively learning math and science—secrets that even dedicated and successful students wish they’d known earlier. Contrary to popular belief, math requires creative, as well as analytical, thinking. Most people think that there’s only one way to do a problem, when in actuality, there are often a number of different solutions—you just need the creativity to see them. For example, there are more than three hundred different known proofs of the Pythagorean Theorem. In short, studying a problem in a laser-focused way until you reach a solution is not an effective way to learn math. Rather, it involves taking the time to step away from a problem and allow the more relaxed and creative part of the brain to take over. A Mind for Numbers shows us that we all have what it takes to excel in math, and learning it is not as painful as some might think!

    We also need insights into the everyday things that frustrate and confuse us so that we can more effectively solve problems and get things done. Yet we know very little about when, why, or how insights are formed—or what blocks them. In Seeing What Others Don't, renowned cognitive psychologist Gary Klein unravels the mystery.Klein is a keen observer of people in their natural settings—scientists, businesspeople, firefighters, police officers, soldiers, family members, friends, himself—and uses a marvelous variety of stories to illuminate his research into what insights are and how they happen. What, for example, enabled Harry Markopolos to put the finger on Bernie Madoff? How did Dr. Michael Gottlieb make the connections between different patients that allowed him to publish the first announcement of the AIDS epidemic? What did Admiral Yamamoto see (and what did the Americans miss) in a 1940 British attack on the Italian fleet that enabled him to develop the strategy of attack at Pearl Harbor? How did a “smokejumper” see that setting another fire would save his life, while those who ignored his insight perished? How did Martin Chalfie come up with a million-dollar idea (and a Nobel Prize) for a natural flashlight that enabled researchers to look inside living organisms to watch biological processes in action?Klein also dissects impediments to insight, such as when organizations claim to value employee creativity and to encourage breakthroughs but in reality block disruptive ideas and prioritize avoidance of mistakes. Or when information technology systems are “dumb by design” and block potential discoveries. Both scientifically sophisticated and fun to read, Seeing What Others Don't shows that insight is not just a “eureka!” moment but a whole new way of understanding.

    In soaring glass structures or minimalist canvases, we recognize a time of vast technological advance which affirmed the power of human beings to reshape their environment and to break, radically, from the conventions or constraints of the past.Less well-known, but no less fascinating, is thedistillation of modernism in graphic design. With the creation of clean visual concepts, designers sought to move away from the mystique they identified with the commercial artist, and to counterbalance an increasingly complicated world with clarity.This unprecedented TASCHEN publication, authored byJens Muller, brings together approximately 6,000 trademarks, focused on the period 1940 1980, to examine howmodernist attitudes and imperatives gave birth to corporate identity. Ranging from media outfits to retail giants, airlines to art galleries, the sweeping survey is organized into three design-orientated chapters: Geometric, Effect, and Typographic. Each chapter is then sub-divided into form and style led sections such as alphabet, overlay, dots and squares.Alongside the comprehensive catalog, the book features an introduction fromJens Mulleron the history of logos, and an essay byR. Roger Remingtonon modernism and graphic design. Eight designer profiles and eight instructive case studies are also included, with a detailed look at the life and work of such luminaries asPaul Rand, Yusaku Kamekura, andAnton Stankowski, and at such significant projects asFiat, The Daiei, Inc., and theMexico Olympic Games of 1968. An unrivaled resource for graphic designers, advertisers, and branding specialists, Logo Modernismis equally fascinating to anyone interested in social, cultural, and corporate history, and in the sheer persuasive power of image and form. Text in English, French, and German "

    The exercises become more difficult, developing greater and greater skills until Ruskin feels his reader is ready for watercolors and finally composition, which he treats in detail as to the laws of principality, repetition, continuity, curvature, radiation, contrast, interchange, consistency, and harmony. All along the way, Ruskin explains, in plain, clear language, the artistic and craftsmanlike reasons behind his practical advice — underlying which, of course, is Ruskin's brilliant philosophy of honest, naturally observed art which has so much affected our aesthetic. Three full-page plates and 48 woodcuts and diagrams (the latter from drawings by the author) show the student what the text describes. An appendix devotes many pages to the art works which may be studied with profit.

    Through the lens of esteemed writers and critics such as Carlo McCormick, Steven Heller and Roger Gastman, Fairey's work is seen for all its depth and placed in context as art, design, social experiment and "getting over". This massive book pulls no punches and all areas of the enigmatic artist's work, travels and travails are illuminated; from exhibitions, posters, flyers, silkscreens and stickers to high altitude pursuits, citations and police beatings, it's all documented in a museum quality layout and binding. The evidence is in, and it's clear that Shepard Fairey is not one to rest on his laurels, the work must go on. For both long time fans wanting the complete collection and those just curious to know what this OBEY business is all about Supply and Demand is the answer.

    From his intimate knowledge of S., the mnemonist, gained from conversations and testing over a period of almost thirty years, A. R. Luria is able to reveal in rich detail not only the obvious strengths of S.’s astonishing memory but also his surprising weaknesses: his crippling inability to forget, his pattern of reacting passively to life, and his uniquely handicapped personality.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.