In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined—and even anticipated —by such unlikely allies as the advertising industry and the men's clothing business."[Thomas Frank is] perhaps the most provocative young cultural critic of the moment."—Gerald Marzorati, New York Times Book Review"An indispensable survival guide for any modern consumer."—Publishers Weekly, starred review"Frank makes an ironclad case not only that the advertising industry cunningly turned the countercultural rhetoric of revolution into a rallying cry to buy more stuff, but that the process itself actually predated any actual counterculture to exploit."—Geoff Pevere, Toronto Globe and Mail"The Conquest of Cool helps us understand why, throughout the last third of the twentieth century, Americans have increasingly confused gentility with conformity, irony with protest, and an extended middle finger with a populist manifesto. . . . His voice is an exciting addition to the soporific public discourse of the late twentieth century."—T. J. Jackson Lears, In These Times"An invaluable argument for anyone who has ever scoffed at hand-me-down counterculture from the '60s. A spirited and exhaustive analysis of the era's advertising."—Brad Wieners, Wired Magazine"Tom Frank is . . . not only old-fashioned, he's anti-fashion, with a place in his heart for that ultimate social faux pas, leftist politics."—Roger Trilling, Details

    Katherine Hayles poses this question at the beginning of this bracing exploration of the idea that we think through, with, and alongside media. As the age of print passes and new technologies appear every day, this proposition has become far more complicated, particularly for the traditionally print-based disciplines in the humanities and qualitative social sciences. With a rift growing between digital scholarship and its print-based counterpart, Hayles argues for contemporary technogenesis—the belief that humans and technics are coevolving—and advocates for what she calls comparative media studies, a new approach to locating digital work within print traditions and vice versa.Hayles examines the evolution of the field from the traditional humanities and how the digital humanities are changing academic scholarship, research, teaching, and publication. She goes on to depict the neurological consequences of working in digital media, where skimming and scanning, or “hyper reading,” and analysis through machine algorithms are forms of reading as valid as close reading once was. Hayles contends that we must recognize all three types of reading and understand the limitations and possibilities of each. In addition to illustrating what a comparative media perspective entails, Hayles explores the technogenesis spiral in its full complexity. She considers the effects of early databases such as telegraph code books and confronts our changing perceptions of time and space in the digital age, illustrating this through three innovative digital productions—Steve Tomasula’s electronic novel, TOC; Steven Hall’s The Raw Shark Texts; and Mark Z. Danielewski’s Only Revolutions. Deepening our understanding of the extraordinary transformative powers digital technologies have placed in the hands of humanists, How We Think presents a cogent rationale for tackling the challenges facing the humanities today.

    At stake, Watkins argues, is the impact hip hop has on the lives of the young people who live and breathe the culture. He presents incisive analysis of the corporate takeover of hip hop and the rampant misogyny that undermines the movement's progressive claims. Ultimately, we see how hip hop struggles reverberate in the larger world: global media consolidation; racial and demographic flux; generational cleavages; the reinvention of the pop music industry; and the ongoing struggle to enrich the lives of ordinary youth.

    This book is for beginners to advanced guitar players.The solutions you'll discover inside Guitar Mastery Simplified will have you on your way to playing the guitar like a true strumming, chords and lead guitar ninja! The guitar lessons inside this book will have you rockin' out to all your favorite guitar jams and songs in no time.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    The struggle between radical movements and the forces of reaction will be merciless. A crucial battlefield, where the outcome of the crisis will in part be decided, is that of theory. Over the last twenty-five years, radical intellectuals across the world have produced important and innovative ideas.The endeavour to transform the world without falling into the catastrophic traps of the past has been a common element uniting these new approaches. This book – aimed at both the general reader and the specialist – offers the first global cartography of the expanding intellectual field of critical contemporary thought. More than thirty authors and intellectual currents of every continent are presented in a clear and succinct manner. A history of critical thought in the twentieth and twenty-first centuries is also provided, helping situate current thinkers in a broader historical and sociological perspective.

    For over twenty years, Walt helped breathe life into the new golden age of animation with these teachings at the Walt Disney Animation Studios and influenced such talented artists as Tim Burton, Brad Bird, Glen Keane, and John Lasseter. These writings represent the quintessential refresher for fine artists and film professionals, and it is a vital tutorial for students who are now poised to be part of another new generation in the art form.Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan.Edited by Academy Award(R)-nominated producer Don Hahn, who has prduced such classic Disney films as Beauty and the Beast and The Lion King.

    Fables of Abundance ranges from the traveling peddlers of early modern Europe to the twentieth-century American corporation, exploring the ways that advertising collaborated with other cultural institutions to produce the dominant aspirations and anxieties in the modern United States.

    The questions Umberto Eco raises, and the answers he suggests, are intertwined in the continuing debate on literature, art, and culture in general.This entirely new edition, edited for the English-language audience with the approval of Eco himself, includes an authoritative introduction by David Robey that explores Eco's thought at the period of The Open Work, prior to his absorption in semiotics. The book now contains key essays on Eco's mentor Luigi Pareyson, on television and mass culture, and on the politics of art. Harvard University Press will publish separately and simultaneously the extended study of James Joyce that was originally part of The Open Work, entitled The Aesthetics of Chaosmos: The Middle Ages of James Joyce. The Open Work explores a set of issues in aesthetics that remain central to critical theory, and does so in a characteristically vivid style. Eco's convincing manner of presenting ideas and his instinct for the lively example are threaded compellingly throughout. This book is at once a major treatise in modern aesthetics and an excellent introduction to Eco's thought.

    In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models.Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. Parables for the Virtual will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general.

    Richard Sennett’s insights into the danger of the cult of individualism remain thoroughly relevant to our world today. In a new epilogue, he extends his analysis to the new “public” realm of social media, questioning how public culture has fared since the digital revolution.

    In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels--the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice--and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.

    Stake uses and annotates an actual case study to answer such questions as: How is the case selected? How do you select the case which will maximize what can be learned? How can what is learned from one case be applied to another? How can what is learned from a case be interpreted? In addition, the book covers: the differences between quantitative and qualitative approaches; data-gathering including document review; coding, sorting and pattern analysis; the roles of the researcher; triangulation; and reporting.

    The fifth edition preserves the lucid, lively and comprehensive qualities which marked the book in its earlier versions. Numerous student learning aids are provided.

    Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we to acknowledge that agency always emerges as the effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events.Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy.