A short illustrated survey of the use of photography in contemporary art since the mid-1980s.

    This work features chapters ranging from a study of industrial and brutalist aesthetics in Britain, the Sexpol of Wilhelm Reich in film and design, and the alienation effects of Brecht and Hanns Eisler on record and on screen.

    In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games. Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like play, design, and interactivity. They look at games through a series of eighteen game design schemas, or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance.Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.

    Drawing on the latest research on behavioral and environmental science, THE POWER OF PLACE examines our reactions to light, temperatiure, the seasons, and other natural phenomena, and explores the interactions between our external and internal worlds.Gallagher's broad and dynamic definition of place includes mountaintops and the womb, Alaska's hinterlands and Manhattan's subways, and she relates these settings to everything from creativity to PMS, jet lag to tales of UFOs.Full of complex information made totally accessible, THE POWER OF PLACE offers the latest insights into the many ways we can change our lives by changing the places we live.

    Our aim will be to show why instruction which fails to quicken activity, why knowledge which enfeebles activity, why history as a costly intellectual excess and luxury must, in the spirit of Goethe’s words, be seriously hated; for we still lack what is most necessary, and superfluous excess is the enemy of the necessary. Certainly we need history. But our need for history is quite different from that of the spoiled idler in the garden of knowledge, even if he in his refinement looks down on our rude and graceless requirements and needs. That is, we require history for life and action, not for the smug avoiding of life and action, or even to whitewash a selfish life and cowardly, bad acts. Only so far as history serves life will we serve it: but there is a degree of doing history and an estimation of it which brings with it a withering and degenerating of life: a phenomenon which is now as necessary as it may be painful to bring to consciousness through some remarkable symptoms of our age."

    It was written in 1873, in the aftermath of the rise of the German Empire and the clash between Bakunin and Karl Marx in the first International. Bakunin assesses the strength of a European state system dominated by Bismarck. Then, in the most remarkable part of the book, he assails the Marxist alternative, predicting that a dictatorship of the proletariat will in fact be a dictatorship over the proletariat, and will produce a new class of socialist rulers. Instead, he outlines his vision of an anarchist society and identifies the social forces he believes will achieve an ananarchist revolution. Statism and Anarchy had an immediate influence on the to the people movement of Russian populism, and Bakunin's ideas inspired other anarchist movements. This is the only complete and reliable rendition of Statism and Anarchy in English, and in a lucid introduction Marshall Shatz locates Bakunin in his immediate historical and intellectual context, and assesses the impact of his ideas on the wider development of European radical thought. A guide to further reading and a chronology of events are appended as aids to students encountering Bakunin's thought for the first time.

    Historically, the humanities have been central to education because they have rightly been seen as essential for creating competent democratic citizens. But recently, Nussbaum argues, thinking about the aims of education has gone disturbingly awry both in the United States and abroad. Anxiously focused on national economic growth, we increasingly treat education as though its primary goal were to teach students to be economically productive rather than to think critically and become knowledgeable and empathetic citizens. This shortsighted focus on profitable skills has eroded our ability to criticize authority, reduced our sympathy with the marginalized and different, and damaged our competence to deal with complex global problems. And the loss of these basic capacities jeopardizes the health of democracies and the hope of a decent world. In response to this dire situation, Nussbaum argues that we must resist efforts to reduce education to a tool of the gross national product. Rather, we must work to reconnect education to the humanities in order to give students the capacity to be true democratic citizens of their countries and the world. Drawing on the stories of troubling--and hopeful--educational developments from around the world, Nussbaum offers a manifesto that should be a rallying cry for anyone who cares about the deepest purposes of education.

    Designers of electronic products, writes Anthony Dunne in "Hertzian Tales," must begin to think more broadly about the aesthetic role of electronic products in everyday life. Industrial design has the potential to enrich our daily lives -- to improve the quality of our relationship to the artificial environment of technology, and even, argues Dunne, to be subverted for socially beneficial ends.The cultural speculations and conceptual design proposals in "Hertzian Tales" are not utopian visions or blueprints; instead, they embody a critique of present-day practices, "mixing criticism with optimism." Six essays explore design approaches for developing the aesthetic potential of electronic products outside a commercial context--considering such topics as the post-optimal object and the aesthetics of user-unfriendliness -- and five proposals offer commentary in the form of objects, videos, and images. These include "Electroclimates," animations on an LCD screen that register changes in radio frequency; "When Objects Dream...," consumer products that "dream" in electromagnetic waves; "Thief of Affection," which steals radio signals from cardiac pacemakers; "Tuneable Cities," which uses the car as it drives through overlapping radio environments as an interface of hertzian and physical space; and the "Faraday Chair: Negative Radio," enclosed in a transparent but radio-opaque shield.Very little has changed in the world of design since "Hertzian Tales "was first published by the Royal College of Art in 1999, writes Dunne in his preface to this MIT Press edition: "Design is not engaging with the social, cultural, and ethical implications of the technologies it makes so sexy and consumable." His project and proposals challenge it to do so.

    Here, the author provides a lively historical context for critical play through 20th-century art movements, connecting subversive game design to subversive art.

    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

    Why do well-intentioned plans for improving the human condition go tragically awry?In this wide-ranging and original book, James C. Scott analyzes failed cases of large-scale authoritarian plans in a variety of fields. Centrally managed social plans misfire, Scott argues, when they impose schematic visions that do violence to complex interdependencies that are not—and cannot—be fully understood. Further, the success of designs for social organization depends upon the recognition that local, practical knowledge is as important as formal, epistemic knowledge. The author builds a persuasive case against "development theory" and imperialistic state planning that disregards the values, desires, and objections of its subjects. He identifies and discusses four conditions common to all planning disasters: administrative ordering of nature and society by the state; a "high-modernist ideology" that places confidence in the ability of science to improve every aspect of human life; a willingness to use authoritarian state power to effect large- scale interventions; and a prostrate civil society that cannot effectively resist such plans.

    The purpose of Why Architecture Matters is to "come to grips with how things feel to us when we stand before them, with how architecture affects us emotionally as well as intellectually" — with its impact on our lives. "Architecture begins to matter," writes Paul Goldberger, "when it brings delight and sadness and perplexity and awe along with a roof over our heads." He shows us how that works in examples ranging from a small Cape Cod cottage to the "vast, flowing" Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the highly sculptural Guggenheim Bilbao and the Church of Sant'Ivo in Rome, where "simple geometries...create a work of architecture that embraces the deepest complexities of human imagination."Based on decades of looking at buildings and thinking about how we experience them, the distinguished critic raises our awareness of fundamental things like proportion, scale, space, texture, materials, shapes, light, and memory. Upon completing this remarkable architectural journey, readers will enjoy a wonderfully rewarding new way of seeing and experiencing every aspect of the built world.

    17th century to the present. Book was reprinted in 2006

    'Here Comes Everybody' is an examination of how the spread of new forms of social interaction enabled by technology is changing the way humans form and exist within groups, with profound long-term economic and social effects, for good and for ill.

    What it has not done is consider the stark reality that most of the time we humans are thinking about social processes, comparing ourselves to and estimating the intentions of others. In Human, Gazzaniga explores a number of related issues, including what makes human brains unique, the importance of language and art in defining the human condition, the nature of human consciousness, and even artificial intelligence.