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.

    Drawing from his unique cultural vision, Žižek brings new light to the Paris riots of 2005; he questions the permissiveness of violence in philanthropy; in daring terms, he reflects on the powerful image and determination of contemporary terrorists.Violence, Žižek states, takes three forms--subjective (crime, terror), objective (racism, hate-speech, discrimination), and systemic (the catastrophic effects of economic and political systems)--and often one form of violence blunts our ability to see the others, raising complicated questions.Does the advent of capitalism and, indeed, civilization cause more violence than it prevents? Is there violence in the simple idea of "the neighbour"? And could the appropriate form of action against violence today simply be to contemplate, to think?Beginning with these and other equally contemplative questions, Žižek discusses the inherent violence of globalization, capitalism, fundamentalism, and language, in a work that will confirm his standing as one of our most erudite and incendiary modern thinkers.

    Its problems are inherent in the technology itself and are so dangerous -- to personal health and sanity, to the environment, and to democratic processes -- that TV ought to be eliminated forever.Weaving personal experiences through meticulous research, the author ranges widely over aspects of television that have rarely been examined and never before joined together, allowing an entirely new, frightening image to emerge. The idea that all technologies are "neutral," benign instruments that can be used well or badly, is thrown open to profound doubt. Speaking of TV reform is, in the words of the author, "as absurd as speaking of the reform of a technology such as guns."

    Boorstin’s prophetic vision of an America inundated by its own illusions has become an essential resource for any reader who wants to distinguish the manifold deceptions of our culture from its few enduring truths.Cover design by Matt Dorfman.

    Today, our entire modern way of life, from communication to commerce to conflict, fundamentally depends on the Internet. And the cybersecurity issues that result challenge literally everyone: politicians wrestling with everything from cybercrime to online freedom; generals protecting the nation from new forms of attack, while planning new cyberwars; business executives defending firms from once unimaginable threats, and looking to make money off of them; lawyers and ethicists building new frameworks for right and wrong. Most of all, cybersecurity issues affect us as individuals. We face new questions in everything from our rights and responsibilities as citizens of both the online and real world to simply how to protect ourselves and our families from a new type of danger. And yet, there is perhaps no issue that has grown so important, so quickly, and that touches so many, that remains so poorly understood.In Cybersecurity and CyberWar: What Everyone Needs to Know�, New York Times best-selling author P. W. Singer and noted cyber expert Allan Friedman team up to provide the kind of easy-to-read, yet deeply informative resource book that has been missing on this crucial issue of 21st century life. Written in a lively, accessible style, filled with engaging stories and illustrative anecdotes, the book is structured around the key question areas of cyberspace and its security: how it all works, why it all matters, and what can we do? Along the way, they take readers on a tour of the important (and entertaining) issues and characters of cybersecurity, from the "Anonymous" hacker group and the Stuxnet computer virus to the new cyber units of the Chinese and U.S. militaries. Cybersecurity and CyberWar: What Everyone Needs to Know� is the definitive account on the subject for us all, which comes not a moment too soon.What Everyone Needs to Know� is a registered trademark of Oxford University Press.

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    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."

    But it was C. P. Snow's Rede lecture of 1959 that brought it to prominence and began a public debate that is still raging in the media today. This 50th anniversary printing of The Two Cultures and its successor piece, A Second Look (in which Snow responded to the controversy four years later) features an introduction by Stefan Collini, charting the history and context of the debate, its implications and its afterlife. The importance of science and technology in policy run largely by non-scientists, the future for education and research, and the problem of fragmentation threatening hopes for a common culture are just some of the subjects discussed.

    The gift is a perfect example of what Mauss calls a total social phenomenon, since it involves legal, economic, moral, religious, aesthetic, and other dimensions. He sees the gift exchange as related to individuals and groups as much as to the objects themselves, and his analysis calls into question the social conventions and economic systems that had been taken for granted for so many years. In a modern translation, introduced by distinguished anthropologist Mary Douglas, The Gift is essential reading for students of social anthropology and sociology.

    According to the August Forrester Report, 56 percent of IT managers interviewed at Global 2,500 companies are already using some type of open source software in their infrastructure and another 6 percent will install it in the next two years. This revolutionary model for collaborative software development is being embraced and studied by many of the biggest players in the high-tech industry, from Sun Microsystems to IBM to Intel.The Cathedral & the Bazaar is a must for anyone who cares about the future of the computer industry or the dynamics of the information economy. Already, billions of dollars have been made and lost based on the ideas in this book. Its conclusions will be studied, debated, and implemented for years to come. According to Bob Young, "This is Eric Raymond's great contribution to the success of the open source revolution, to the adoption of Linux-based operating systems, and to the success of open source users and the companies that supply them."The interest in open source software development has grown enormously in the past year. This revised and expanded paperback edition includes new material on open source developments in 1999 and 2000. Raymond's clear and effective writing style accurately describing the benefits of open source software has been key to its success. With major vendors creating acceptance for open source within companies, independent vendors will become the open source story in 2001.

    Equally important to Silicon Valley's world-altering innovation are the language and ideas it uses to explain and justify itself. And often, those fancy new ideas are simply old motifs playing dress-up in a hoodie. From the myth of dropping out to the war cry of "disruption," Daub locates the Valley's supposedly original, radical thinking in the ideas of Heidegger and Ayn Rand, the New Age Esalen Foundation in Big Sur, and American traditions from the tent revival to predestination. Written with verve and imagination, What Tech Calls Thinking is an intellectual refutation of Silicon Valley's ethos, pulling back the curtain on the self-aggrandizing myths the Valley tells about itself.FSG Originals � Logic dissects the way technology functions in everyday lives. The titans of Silicon Valley, for all their utopian imaginings, never really had our best interests at heart: recent threats to democracy, truth, privacy, and safety, as a result of tech's reckless pursuit of progress, have shown as much. We present an alternate story, one that delights in capturing technology in all its contradictions and innovation, across borders and socioeconomic divisions, from history through the future, beyond platitudes and PR hype, and past doom and gloom. Our collaboration features four brief but provocative forays into the tech industry's many worlds, and aspires to incite fresh conversations about technology focused on nuanced and accessible explorations of the emerging tools that reorganize and redefine life today.

    His aim is to account for the evolution of cultural forms as Darwin accounted for the evolution of biological forms: to show how cultures adopt their characteristic forms in response to changing ecological modes."[A] magisterial interpretation of the rise and fall of human cultures and societies."-- Robert Lekachman, Washington Post Book World"Its persuasive arguments asserting the primacy of cultural rather than genetic or psychological factors in human life deserve the widest possible audience."-- Gloria Levitas The New Leader"[An] original and...urgent theory about the nature of man and at the reason that human cultures take so many diverse shapes."-- The New Yorker"Lively and controversial."-- I. Bernard Cohen, front page, The New York Times Book Review

    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.

    This has always been the case, no matter how often that certainty has failed. Though no generation believes there’s nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure—until, of course, they don’t.But What If We’re Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or—weirder still—widely known, but entirely disrespected)? Is it possible that we “overrate” democracy? And perhaps most disturbing, is it possible that we’ve reached the end of knowledge?Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We’re Wrong? is built on interviews with a variety of creative thinkers—George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others—interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It’s a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It’s about how we live now, once “now” has become “then.”