Building on the work of Foucault, Giddens, Jameson and Lefebvre, one of America's geographers argues for a rethinking of the dialectics of space, time and social being.

    FLYOVERS. STREETS IN THE SKY. ONCE, THIS WAS THE FUTURE. Was Britain's postwar rebuilding the height of midcentury chic or the concrete embodiment of Crap Towns? John Grindrod decided to find out how blitzed, slum-ridden and crumbling 'austerity Britain' became, in a few short years, a space-age world of concrete, steel and glass. On his journey he visits the sleepy Norfolk birthplace of Brutalism, the once-Blitzed city centre of Plymouth, the futuristic New Town of Cumbernauld, Sheffield's innovative streets in the sky, the foundations of the BT tower, and the brave 1950s experiments in the Gorbals. Along the way he meets New Town pioneers, tower block builders, Barbican architects, old retainers of Coventry Cathedral, proud prefab dwellers and sixties town planners: people who lived through a time of phenomenal change and excitement. What he finds is a story of dazzling space-age optimism, ingenuity and helipads -- so many helipads -- tempered by protests, deadly collapses and scandals that shook the government. Concretopia is an accessible, warm and revealing social history of an aspect of Britain often ignored, insulted and misunderstood. It will change the way you look at Arndale Centres, tower blocks and concrete forever.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    It’s an exploration of making, but it’s also a permission slip of sorts from me to you. Permission to grab hold of the things you’re interested in, that fascinate you, and to dive deeper into them to see where they lead you. Through stories from forty-plus years of making and molding, building and break­ing, along with the lessons I learned along the way, this book is meant to be a toolbox of problem solving, complete with a shop’s worth of notes on the tools, techniques, and materials that I use most often. Things like: In Every Tool There Is a Hammer—don’t wait until everything is perfect to begin a project, and if you don’t have the exact right tool for a task, just use whatever’s handy; Increase Your Loose Tolerance—making is messy and filled with screwups, but that’s okay, as creativity is a path with twists and turns and not a straight line to be found; Use More Cooling Fluid—it prolongs the life of blades and bits, and it prevents tool failure, but beyond that it’s a reminder to slow down and reduce the fric­tion in your work and relationships; Screw Before You Glue—mechanical fasteners allow you to change and modify a project while glue is forever but sometimes you just need the right glue, so I dig into which ones will do the job with the least harm and best effects. This toolbox also includes lessons from many other incredible makers and creators, including: Jamie Hyneman, Nick Offerman, Pixar director Andrew Stanton, Oscar-winner Guillermo del Toro, artist Tom Sachs, and chef Traci Des Jardins. And if everything goes well, we will hopefully save you a few mistakes (and maybe fingers) as well as help you turn your curiosities into creations. I hope this book serves as “creative rocket fuel” (Ed Helms) to build, make, invent, explore, and—most of all—enjoy the thrills of being a creator.

    In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    Donald E. Knuth so loved the Bible that he dedicated five years of his life to creating this masterpiece. With it, you will learn about each 3:16 verse of the Bible, how it came to be written, and how it contributes to the wholeness of the Bible.

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    Part social commentary, part sitting at-the-feet-of-Socrates, part kick in the ass, COME IN ALONE was the column that would zig when you thought it would zag. This collection of all fifty-two columns includes Ellis' unique take on the comic book industry, features first-class interviews with top-flight comic book professionals, and even includes the legendary Old Bastard's Manifesto. Wrap this all up in an evocative and spooky cover by Brian Wood, and you've got a collection of commentary that midwifed the birth of the comic book industry into the 21st century.

    From the uncanny resilience of Chinese through twenty centuries of invasions to the engaging self-regard of Greek and to the struggles that gave birth to the languages of modern Europe, these epic achievements and more are brilliantly explored, as are the fascinating failures of once "universal" languages. A splendid, authoritative, and remarkable work, it demonstrates how the language history of the world eloquently reveals the real character of our planet's diverse peoples and prepares us for a linguistic future full of surprises.

    The emergence of factories, railroads, and gunboats propelled the West’s rise to power in the nineteenth century, and the development of computers and nuclear weapons in the twentieth century secured its global supremacy. Now, at the beginning of the twenty-first century, many worry that the emerging economic power of China and India spells the end of the West as a superpower. In order to understand this possibility, we need to look back in time. Why has the West dominated the globe for the past two hundred years, and will its power last?Describing the patterns of human history, the archaeologist and historian Ian Morris offers surprising new answers to both questions. It is not, he reveals, differences of race or culture, or even the strivings of great individuals, that explain Western dominance. It is the effects of geography on the everyday efforts of ordinary people as they deal with crises of resources, disease, migration, and climate. As geography and human ingenuity continue to interact, the world will change in astonishing ways, transforming Western rule in the process.Deeply researched and brilliantly argued, Why the West Rules—for Now spans fifty thousand years of history and offers fresh insights on nearly every page. The book brings together the latest findings across disciplines—from ancient history to neuroscience—not only to explain why the West came to rule the world but also to predict what the future will bring in the next hundred years.

    Even as they bring ease to our lives, these programs are stealing something essential from us.Drawing on psychological and neurological studies that underscore how tightly people’s happiness and satisfaction are tied to performing hard work in the real world, Carr reveals something we already suspect: shifting our attention to computer screens can leave us disengaged and discontented.From nineteenth-century textile mills to the cockpits of modern jets, from the frozen hunting grounds of Inuit tribes to the sterile landscapes of GPS maps, The Glass Cage explores the impact of automation from a deeply human perspective, examining the personal as well as the economic consequences of our growing dependence on computers.With a characteristic blend of history and philosophy, poetry and science, Carr takes us on a journey from the work and early theory of Adam Smith and Alfred North Whitehead to the latest research into human attention, memory, and happiness, culminating in a moving meditation on how we can use technology to expand the human experience.

    In fact, prequel would be a better word for this new book, since it is aimed towards the novice designer. Whereas Sketching shows you how to draw various aspects of shape and form, and serves more as a reference book, The Basics explains things in more detail, taking the reader by the hand and guiding him step by step through all the various aspects of drawing that novice designers come up against.The Basics explains the rudiments of learning to draw both clearly and comprehensively, using step-by-step illustrations, examples, and strategies. You will learn to use and master the different techniques and also how to apply sketches in the design process.It is the perfect book for those just starting out in sketching, for the first years of art and design courses, and for those who wish to revise the basics of good sketching; it is a simple and efficient way of learning all you've ever wanted to know but have never had explained to you.Koos Eissen is an associate professor at Delft University of Technology in the Netherlands, where he is responsible for the freehand and digital drawing classes at the Faculty of Industrial Design Engineering.Roselien Steur lectures at the Royal Academy of Arts in The Hague and specialises in design sketching workshops for professionals.

    environmental movement that covers the colonial period through 1999. It provides students with a balanced, historical perspective on the history of the environmental movement in relation to major social and political events in U.S. history. The book highlights important people and events, places critical concepts in context, and shows the impact of government, industry, and population on the American landscape. Comprehensive yet brief, First Along the River discusses the religious and philosophical beliefs that shaped Americans' relationship to the environment, traces the origins and development of government regulations that impact Americans' use of natural resources, and shows why popular environmental groups were founded and how they changed over time.

    These images are awesome not just for their beauty alone, but because they suggest an order underlying their growth, a harmony existing in nature. What does it mean that such an order exists; how far does it extend? The Power of Limits was inspired by those simple discoveries of harmony. The author went on to investigate and measure hundreds of patterns—ancient and modern, minute and vast. His discovery, vividly illustrated here, is that certain proportions occur over and over again in all these forms. Patterns are also repeated in how things grow and are made—by the dynamic union of opposites—as demonstrated by the spirals that move in opposite directions in the growth of a plant. The joining of unity and diversity in the discipline of proportional limitations creates forms that are beautiful to us because they embody the principles of the cosmic order of which we are a part; conversely, the limitlessness of that order is revealed by the strictness of its forms. The author shows how we, as humans, are included in the universal harmony of form, and suggests that the union of complementary opposites may be a way to extend that harmony to the psychological and social realms as well.

    . . leave it to a poet to tackle the unthinkable so wisely and so wittily."* A literary guide to life in the pre-apocalypse, The Unreality of Memory collects profound and prophetic essays on the Internet age’s media-saturated disaster coverage and our addiction to viewing and discussing the world’s ills.We stare at our phones. We keep multiple tabs open. Our chats and conversations are full of the phrase “Did you see?” The feeling that we’re living in the worst of times seems to be intensifying, alongside a desire to know precisely how bad things have gotten—and each new catastrophe distracts us from the last.The Unreality of Memory collects provocative, searching essays on disaster culture, climate anxiety, and our mounting collective sense of doom. In this new collection, acclaimed poet and essayist Elisa Gabbert explores our obsessions with disasters past and future, from the sinking of the Titanic to Chernobyl, from witch hunts to the plague. These deeply researched, prophetic meditations question how the world will end—if indeed it will—and why we can’t stop fantasizing about it.Can we avoid repeating history? Can we understand our moment from inside the moment? With The Unreality of Memory, Gabbert offers a hauntingly perceptive analysis of our new ways of being and a means of reconciling ourselves to this unreal new world."A work of sheer brilliance, beauty and bravery.” *—Andrew Sean Greer, author of Less