Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    Lavishly illustrated with Dilbert strips, these hilarious essays on incompetent bosses, management fads, bewildering technological changes and so much more, will make anyone who has ever worked in an office laugh out loud in recognition. The Dilbert Principle: The most ineffective workers will be systematically moved to the place where they can do the least damage -- management.Since 1989, Scott Adams has been illustrating this principle each day, lampooning the corporate world through Dilbert, his enormously popular comic strip. In Dilbert, the potato-shaped, abuse-absorbing hero of the strip, Adams has given voice to the millions of Americans buffeted by the many adversities of the workplace.Now he takes the next step, attacking corporate culture head-on in this lighthearted series of essays. Packed with more than 100 hilarious cartoons, these 25 chapters explore the zeitgeist of ever-changing management trends, overbearing egos, management incompetence, bottomless bureaucracies, petrifying performance reviews, three-hour meetings, the confusion of the information superhighway and more. With sharp eyes, and an even sharper wit, Adams exposes -- and skewers -- the bizarre absurdities of everyday corporate life. Readers will be convinced that he must be spying on their bosses, The Dilbert Principle rings so true!

    But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions.From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughtout history.Provacative and original, Art & Physics is a seamless integration of the romance of art and the drama of science...and exhilarating history of ideas.

    Its Philosophy 101 for everyone who knows not to take all this heavy stuff too seriously. Some of the Big Ideas are Existentialism (what do Hegel and Bette Midler have in common?), Philosophy of Language (how to express what its like being stranded on a desert island with Halle Berry), Feminist Philosophy (why, in the end, a man is always a man), and much more. Finally it all makes sense!

    In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    An international bestseller, millions of readers have found it to be an invaluable guide to living the artist’s life. Still as vital today—or perhaps even more so—than it was when it was first published one decade ago, it is a powerfully provocative and inspiring work. In a new introduction to the book, Julia Cameron reflects upon the impact of The Artist’s Way and describes the work she has done during the last decade and the new insights into the creative process that she has gained. Updated and expanded, this anniversary edition reframes The Artist’s Way for a new century.

    From the funny memes that we send to our friends to the disturbing photographs we see in the news, we are consuming and producing images in quantities and ways that could never have been anticipated. In the process, we are producing a new worldview powered by changing demographics -- one where the majority of people are young, urban, and globally connected. In How to See the World, visual culture expert Nicholas Mirzoeff offers a sweeping look at history's most famous images -- from Velezquez's Las Meninas to the iconic "Blue Marble" -- to contextualize and make sense of today's visual world. Drawing on art history, sociology, semiotics, and everyday experience, he teaches us how to close read everything from astronaut selfies to Impressionist self-portraits, from Hitchcock films to videos taken by drones. Mirzoeff takes us on a journey through visual revolutions in the arts and sciences, from new mapping techniques in the seventeenth century to new painting styles in the eighteenth and the creation of film, photography, and x-rays in the nineteenth century. In today's networked world, mobile technology and social media enable us to exercise "visual activism" -- the practice of producing and circulating images to drive political and social change. Whether we are looking at pictures showing the effects of climate change on natural and urban landscapes or an fMRI scan demonstrating neurological addiction, Mirzoeff helps us to find meaning in what we see. A powerful and accessible introduction to this new visual culture, How to See the World reveals how images shape our lives, how we can harness their power for good, and why they matter to us all.

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    The selections range from his earliest days as a theoretical physicist to his death in 1955; from such subjects as relativity, nuclear war or peace, and religion and science, to human rights, economics, and government.

    Great for the beginner and the expert, this book offers readers exercises to improve their work.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    The show celebrates design and architecture in all of its functional glory and accidental absurdity, with intriguing tales of both designers and the people impacted by their designs.Now, in The 99% Invisible City: A Field Guide to Hidden World of Everyday Design, host Roman Mars and coauthor Kurt Kohlstedt zoom in on the various elements that make our cities work, exploring the origins and other fascinating stories behind everything from power grids and fire escapes to drinking fountains and street signs. With deeply researched entries and beautiful line drawings throughout, The 99% Invisible City will captivate devoted fans of the show and anyone curious about design, urban environments, and the unsung marvels of the world around them.

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.