This is a master class in the principles and practical fundamentals of design that will appeal to a broad audience of graphic artists and designers.

    He explains in depth the tools Lacan gave him to navigate the extremes of his other two philosophical "masters," Jean-Paul Sartre and Louis Althusser. Élisabeth Roudinesco supplements Badiou's experience with her own perspective on the troubled landscape of the French analytic world since Lacan's death—critiquing, for example, the link (or lack thereof) between politics and psychoanalysis in Lacan's work. Their exchange reinvigorates how the the work of a pivotal twentieth-century thinker is perceived.

    Afterward, countless people flocked to see the empty space where it had once been on display. What could have drawn these crowds to stare at a blank wall? Many of them had never seen the painting in the first place. Can this tell us something about why we look at art, why artists create it, and why it has to be so expensive? Taking this story as his starting point, Darian Leader explores the psychology of looking at paintings and sculpture. He combines anecdote, observation, and analysis with examples taken from classical and contemporary art. This is a book about why we look at art, and what, indeed, we might be hoping to find.

    After a highly publicized and controversial exit from Mormonism, Lamborn intertwines the story of his awakening with psychological aspects of religious belief.

    It could forever change how you experience and interact with your physical surroundings, open your eyes to the perversity of bad design and the desirability of good design, and raise your expectations about how things should be designed.B & W photographs and illustrations throughout.

    It manages to emphasize a melding of the Eastern philosophy and the technique of the art, in a marvelously eloquent yet concise manner. Flashing Steel describes and pictures forty-two kata (formal training patterns) which govern this system, with ten partner exercises applying iadid principles in realistic attack and defense systems. These kata are also widely practiced by students of kendo, aikido, and other martial arts which use swordsmanship.

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    What is it that persuades us to camp outside Apple stores to be the first to buy an iPhone? Why is it that a generation ago a typewriter might have lasted someone a lifetime, but now we write on computers that we upgrade every couple of years to shinier, faster, sleeker models? Why do the clicks of some car doors sound “expensive”? Deyan Sudjic charts our relationship—both innocent and knowing—with all things designed. From the opulent excesses of the catwalk to the playfulness of an Alessi jam jar, he shows how we can be manipulated and seduced by our possessions. With scintillating wit he addresses these questions and more, exploring the reasons why every designer yearns to put a personal stamp on a chair or an adjustable lamp, and where design ends and art begins. 71 black-and-white and 5 color illustrations.

    A seminal work of modern photojournalism, this landmark collection of photographs and interviews documents the abandon and risk implied in the name of the gang Lyon belonged to: the Chicago Outlaw Motorcycle Club. With images and interviews that are as raw, alive, and dramatic today as they were three decades ago, this new edition includes startling new images: 15 additional black-and-white photographs and 14 color prints--long thought missing--of works originally published in black-and-white. With a new introduction by the author, The Bikeriders rides again, capturing like never before the dawn of the counterculture era.

    These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty.In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.

    It includes a dozen rare images, most never before seen.

    We need not walk far, because paradise is right around the corner." --Hundertwasser Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    Buildings often overawe us with their beauty. Architecture is both setting for our everyday lives and public art form—but it remains mysterious to most of us. In How Architecture Works, Witold Rybczynski, one of our best, most stylish critics and winner of the Vincent Scully Prize for his architectural writing, answers our most fundamental questions about how good—and not-so-good—buildings are designed and constructed. Introducing the reader to the rich and varied world of modern architecture, he takes us behind the scenes, revealing how architects as different as Frank Gehry, Renzo Piano, and Robert A. M. Stern envision and create their designs. He teaches us how to "read" plans, how buildings respond to their settings, and how the smallest detail—of a stair balustrade, for instance—can convey an architect's vision. Ranging widely from a war memorial in London to an opera house in St. Petersburg, from the National Museum of African American History and Culture in Washington, D.C., to a famous architect's private retreat in downtown Princeton, How Architecture Works, explains the central elements that make up good building design. It is an enlightening humanist's toolkit for thinking about the built environment and seeing it afresh. "Architecture, if it is any good, speaks to all of us," Rybczynski writes. This revelatory book is his grand tour of architecture today.

    We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world.While holding this to be true of authentic art, the author acknowledges the presence--overwhelming in our media-saturated age--of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival.Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.