Postman and Powers warn that anyone who relies exclusively on TV for a knowledge of the world is making a serious mistake and suggest ways to intelligently evaluate TV news shows.

    The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the development of “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art’s distinction. In this major new work, Groys charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.

    

    A provocative new view of Marx stressing his humanist philosophy and challenging both Soviet distortion and Western ignorance of his basic thinking.

    But how will these be affected once we delegate much of the responsibility for them to technology? The temptation of the digital age is to fix everything—from crime to corruption to pollution to obesity—by digitally quantifying, tracking, or gamifiying behavior. But when we change the motivations for our moral, ethical, and civic behavior, we may also change the very nature of that behavior itself. Technology, Evgeny Morozov proposes, can be a force for improvement—but only if we abandon the idea that it is necessarily revolutionary and instead genuinely interrogate what we are doing with it and what it is doing to us.From urging us to abandon monolithic ideas of “the Internet” to showing how to design more humane and democratic technological solutions, To Save Everything, Click Here is a dazzling tour of our technological future, and a searching investigation into the digital version of an enduring struggle: between man and his machines.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    "To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius.Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work.Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon.This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement.Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

    His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including "Aperture," "Artforum" and "The Nation." In "Between the Eyes: Essays on Photography and Politics," Strauss tackles subjects as diverse as "Photography and Propaganda," the imagery of dreams, Sebastiao Salgado's epic social documents and the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay "Photography and Belief," and in "The Highest Degree of Illusion," Strauss discusses the media frenzy surrounding the events of September 11. As our world is shaped more and more by images and their slipperiness, what he calls a media "pandemonium" in its root meaning of "the place of all howling demons," we need a mind and voice like Levi Strauss' to bring clarity to our vision.

    Cologne's Museum Ludwig was the first museum of contemporary art to devote a substantial section to international photography. The L. Fritz Gruber collection, from which this book is drawn, is one of the most important in Germany and one of the most representative anywhere in the world, constituting the core of the museum's holdings. This book provides a fascinating insight into the collection's rich diversity; from conceptual art to abstraction to reportage, all of the major movements and genres are represented via a vast selection of the century's most remarkable photographs. From Ansel Adams to Piet Zwart, over 850 works are presented in alphabetical order by photographer, with descriptive texts and photographers' biographical details.

    The stakes could not be higher: a global architecture of behavior modification threatens human nature in the twenty-first century just as industrial capitalism disfigured the natural world in the twentieth.Zuboff vividly brings to life the consequences as surveillance capitalism advances from Silicon Valley into every economic sector. Vast wealth and power are accumulated in ominous new "behavioral futures markets," where predictions about our behavior are bought and sold, and the production of goods and services is subordinated to a new "means of behavioral modification."The threat has shifted from a totalitarian Big Brother state to a ubiquitous digital architecture: a "Big Other" operating in the interests of surveillance capital. Here is the crucible of an unprecedented form of power marked by extreme concentrations of knowledge and free from democratic oversight. Zuboff's comprehensive and moving analysis lays bare the threats to twenty-first century society: a controlled "hive" of total connection that seduces with promises of total certainty for maximum profit--at the expense of democracy, freedom, and our human future.With little resistance from law or society, surveillance capitalism is on the verge of dominating the social order and shaping the digital future--if we let it.Table of contentsINTRODUCTION1. Home or exile in the digital futureI. THE FOUNDATIONS OF SURVEILLANCE CAPITALISM2. August 9, 2011: Setting the stage for Surveillance Capitalism3. The discovery of behavioral surplus4. The moat around the castle5. The elaboration of Surveillance Capitalism: Kidnap, corner, compete6. Hijacked: The division of learning in societyII. THE ADVANCE OF SURVEILLANCE CAPITALISM7. The reality business8. Rendition: From experience to data9. Rendition from the depths10. Make them dance11. The right to the future tenseIII. INSTRUMENTARIAN POWER FOR A THIRD MODERNITY12. Two species of power13. Big Other and the rise of instrumentarian power14. A utopia of certainty15, The instrumentarian collective16. Of life in the hive17. The right to sanctuaryCONCLUSION18. A coup from aboveAcknowledgementsAbout the authorDetailed table of contentsNotesIndex

    He untangles the pattern of interconnecting events, the accidents of time, circumstance, and place that gave rise to major inventions of the world. Says Burke, "My purpose is to acquaint the reader with some of the forces that have caused change in the past, looking in particular at eight innovations - the computer, the production line, telecommunications, the airplane, the atomic bomb, plastics, the guided rocket, and television - which may be most influential in structuring our own futures.... Each one of these is part of a family of similar devices, and is the result of a sequence of closely connected events extending from the ancient world until the present day. Each has enormous potential for humankind's benefit - or destruction."

    Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value.For the third edition, the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Seven chapters are entirely new, including expanded coverage of recent world architecture.Described by James Ackerman of Harvard University as "immeasurably the finest work covering this field in existence", this book presents a penetrating analysis of the modern tradition and its origins, tracing the creative interaction between old and new that has generated such an astonishing richness of architectural forms across the world and throughout the century.

    It looks at French religious art in the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography used in the cathedrals of France. Fully illustrated with many footnotes it acts as a useful guide for the student of Western culture.

    He spent a large part of his life on the run, leaving a trail of illuminated chaos wherever he passed, most of it recorded in criminal justice records. When he did settle for long enough to paint, he produced works of staggering creativity and technical innovation. He was famous throughout Italy for his fulminating temper, but also for his radical and sensitive humanization of biblical stories, and in particular his decision to include the brutal and dirty life of the street in his paintings. Caravaggio was a rebel and a violent man, but he eyed the world with deep empathy, realism, and an unrelenting honesty.

    This unique selection of illustrations with commentaries and source texts guides us on a fascinating journey through the representations of the secret arts.