Equally ubiquitous, though until now less the subject of serious inquiry, are temporary memorials: spontaneous offerings of flowers and candles that materialize at sites of tragic and traumatic death. In Memorial Mania, Erika Doss argues that these memorials underscore our obsession with issues of memory and history, and the urgent desire to express—and claim—those issues in visibly public contexts.   Doss shows how this desire to memorialize the past disposes itself to individual anniversaries and personal grievances, to stories of tragedy and trauma, and to the social and political agendas of diverse numbers of Americans. By offering a framework for understanding these sites, Doss engages the larger issues behind our culture of commemoration. Driven by heated struggles over identity and the politics of representation, Memorial Mania is a testament to the fevered pitch of public feelings in America today.

    What does it mean to become a photographer in the twenty-first century? This thoughtful collection of essays illuminates the spirit of the people who make the indelible images of our times. Aspiring and professional photographers—especially those in arts programs throughout the United States—will appreciate the comprehensive vision of The Education of a Photographer. Classic writings from the twentieth century as well as the thoughts of the most influential talents working today, plus essays from designers, editors, and gallery owners, make this a compelling look at what drives and inspires photographers to create great work.

    Harness the students interest in film to help them engage critically with a range of media including visual and printed texts.

    It is a much-needed alternative to the commentators who blather on about the perils of the Internet and social media. Tell Everyone is a manifesto on the power of social media and the ways in which it can be harnessed for good.Bringing together journalistic flair and academic rigour, online news pioneer and social media maven Alfred Hermida debunks the idea of Twitter as an echo chamber or Instagram as a place for narcissists. Instead Hermida places our fears about social media in context by showing how we have always been suspicious about new ways to communicate. He takes on the notion of slacktivism to show how individuals come together through social media to push for the common good.Tell Everyone reveals how social media is becoming the planet's nervous system. It highlights how we are using social media to amplify the power of individuals, challenge elites and make decisions, from choosing politicians to doing business to raising money for charity. Tell Everyone is a must-read tour of journalistic blunder, corporate PR fiascos, social movements and revolutions.

    This is a ride on the Google wave, and the fullest account of how it formed and crashed into traditional media businesses. With unprecedented access to Google's founders and executives, as well as to those in media who are struggling to keep their heads above water, Ken Auletta reveals how the industry is being disrupted and redefined.Auletta goes inside Google's closed-door meetings, introducing Google's notoriously private founders, Larry Page and Sergey Brin, as well as those who work with - and against - them. In Googled, the reader discovers the 'secret sauce' of the company's success and why the worlds of 'new' and 'old' media often communicate as if residents of different planets. It may send chills down traditionalists' spines, but it's a crucial roadmap to the future of media business: the Google story may well be the canary in the coal mine.Googled is candid, objective and authoritative. Crucially, it's not just a history or reportage: it's ahead of the curve and unlike any other Google books, which tend to have been near-histories, somewhat starstruck, now out of date or which fail to look at the full synthesis of business and technology.

    Released on July 31, the song was supposed to be an upbeat dance recording—a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture.The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, “Dancing in the Street” gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed.Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.

    The result is nothing less than an archaeology of the sciences that unearths old patterns of meaning and reveals the shocking arbitrariness of our received truths.In the work that established him as the most important French thinker since Sartre, Michel Foucault offers startling evidence that “man”—man as a subject of scientific knowledge—is at best a recent invention, the result of a fundamental mutation in our culture.

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    In The Gutenberg Elegies, he explores the impact of technology on the experience of reading. Drawing on his own passionate, lifelong love of books, Birkerts examines how literature intimately shapes and nourishes the inner life. What does it mean to "hear" a book on audiotape or decipher its words in electronic form on a laptop screen? Can the world created by Henry James exist in an era defined by the work of Bill Gates? Are books as we know them—volumes printed in ink on paper, with pages to be turned as the reading of each page is completed—dead?At once a celebration of the complex pleasures of reading and a bold challenge to the information technologies of today and tomorrow, The Gutenberg Elegies is an essential volume for anyone who cares about the past and the future of books.

    Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

    WE ARE ANONYMOUS is the first full account of how a loosely assembled group of hackers scattered across the globe formed a new kind of insurgency, seized headlines, and tortured the feds-and the ultimate betrayal that would eventually bring them down. Parmy Olson goes behind the headlines and into the world of Anonymous and LulzSec with unprecedented access, drawing upon hundreds of conversations with the hackers themselves, including exclusive interviews with all six core members of LulzSec. In late 2010, thousands of hacktivists joined a mass digital assault on the websites of VISA, MasterCard, and PayPal to protest their treatment of WikiLeaks. Other targets were wide ranging-the websites of corporations from Sony Entertainment and Fox to the Vatican and the Church of Scientology were hacked, defaced, and embarrassed-and the message was that no one was safe. Thousands of user accounts from pornography websites were released, exposing government employees and military personnel.Although some attacks were perpetrated by masses of users who were rallied on the message boards of 4Chan, many others were masterminded by a small, tight-knit group of hackers who formed a splinter group of Anonymous called LulzSec. The legend of Anonymous and LulzSec grew in the wake of each ambitious hack. But how were they penetrating intricate corporate security systems? Were they anarchists or activists? Teams or lone wolves? A cabal of skilled hackers or a disorganized bunch of kids?WE ARE ANONYMOUS delves deep into the internet's underbelly to tell the incredible full story of the global cyber insurgency movement, and its implications for the future of computer security.

    This book provides the art history student with an introduction to the range of theoretical perspectives used in looking at and analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives.The book begins by introducing the concept of theory and explains why it is important to the practice of art history. Each of the six chapters that form the core of the book presents a group of related approaches that are then discussed in turn and applied to one or more works of art. The book ends with some practical ideas about writing theory-based art history essays.

    This book explores the realm of human behavior in social situations and the way that we appear to others. Dr. Goffman uses the metaphor of theatrical performance as a framework. Each person in everyday social intercourse presents himself and his activity to others, attempts to guide and control the impressions they form of him, and employs certain techniques in order to sustain his performance, just as an actor presents a character to an audience. The discussions of these social techniques offered here are based upon detailed research and observation of social customs in many regions.

    But how true is this claim? In a seminal dismantling of techno-utopian visions, "The People's Platform" argues that for all that we "tweet" and "like" and "share," the Internet in fact reflects and amplifies real-world inequities at least as much as it ameliorates them. Online, just as off-line, attention and influence largely accrue to those who already have plenty of both.What we have seen so far, Astra Taylor says, has been not a revolution but a rearrangement. Although Silicon Valley tycoons have eclipsed Hollywood moguls, a handful of giants like Amazon, Apple, Google, and Facebook remain the gatekeepers. And the worst habits of the old media model--the pressure to seek easy celebrity, to be quick and sensational above all--have proliferated online, where "aggregating" the work of others is the surest way to attract eyeballs and ad revenue. When culture is "free," creative work has diminishing value, and advertising fuels the system. The new order looks suspiciously like the old one.We can do better, Taylor insists. The online world does offer a unique opportunity, but a democratic culture that supports diverse voices and work of lasting value will not spring up from technology alone. If we want the Internet to truly be a people's platform, we will have to make it so.

    Since 2001, newspaper and music revenues have fallen by 70%, book publishing, film and television profits have also fallen dramatically. Revenues at Google in this same period grew from $400 million to $74.5 billion. Google's YouTube today controls 60% of the streaming audio business and pays only 11% of the streaming audio revenues. More creative content is being consumed than ever before, but less revenue is flowing to creators and owners of the content.With the reallocation of money to monopoly platforms comes a shift in power. Google, Facebook, and Amazon now enjoy political power on par with Big Oil and Big Pharma, which in part explains how such a tremendous shift in revenues from artists to platforms could have been achieved and why it has gone unchallenged for so long.The stakes in this story go far beyond the livelihood of any one musician or journalist. As Taplin observes, the fact that more and more Americans receive their news, music and other forms of entertainment from a small group of companies poses a real threat to democracy. Move Fast and Break Things offers a vital, forward-thinking prescription for how artists can reclaim their audiences using knowledge of the past and a determination to work together. Using his own half-century career as a music and film producer and early pioneer of streaming video online, Taplin offers new ways to think about the design of the World Wide Web and specifically the way we live with the firms that dominate it.Table of contentsIntroduction1. The Great Disruption2. Levon's Story3. Tech's Counterculture Roots4. The Libertarian Counterinsurgency5. Digital Destruction6. Monopoly in the Digital Age7. Google's Regulatory Capture8. The Social Media Revolution9. Pirates of the Internet10. Libertarian and the 1 Percent11. What It Means to Be Human12. The Digital RenaissanceAfterword