His essays consider Van Gogh, Cezanne, Rembrandt, Cranach, Watteau, Fragonard, Brueghel and his own brother Karl and also discuss general topics such as the character of the artist and of the dilettante as well as the differences between painters and poets. Every piece is marked by Walser’s unique eye, his delicate sensitivity, and his very particular sensibilities—and all are touched by his magic screwball wit.

    Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

    Week after week, Mauldin defied army censors, German artillery, and Patton’s pledge to “throw his ass in jail” to deliver his wildly popular cartoon, “Up Front,” to the pages of Stars and Stripes. “Up Front” featured the wise-cracking Willie and Joe, whose stooped shoulders, mud-soaked uniforms, and pidgin of army slang and slum dialect bore eloquent witness to the world of combat and the men who lived—and died—in it. This taut, lushly illustrated biography—the first of two-time Pulitzer Prize winner Bill Mauldin—is illustrated with more than ninety classic Mauldin cartoons and rare photographs. It traces the improbable career and tumultuous private life of a charismatic genius who rose to fame on his motto: “If it’s big, hit it.”

    In The Paranoid Style in American Politics, acclaimed historian Richard Hofstadter examines the competing forces in American political discourse and how fringe groups can influence — and derail — the larger agendas of a political party. He investigates the politics of the irrational, shedding light on how the behavior of individuals can seem out of proportion with actual political issues, and how such behavior impacts larger groups. With such other classic essays as “Free Silver and the Mind of 'Coin' Harvey” and “What Happened to the Antitrust Movement?”, The Paranoid Style in American Politics remains both a seminal text of political history and a vital analysis of the ways in which political groups function in the United States."Recent months have witnessed an attack of unprecedented passion and ferocity against the national government. The Republican Party has apparently embarked on a crusade to destroy national standards, national projects, and national regulations and to transfer domestic governing authority from the national government to the states. A near majority of the Supreme Court even seems to want to replace the Constitution by the Articles of Confederation…"Unbridled rhetoric is having consequences far beyond anything that antigovernment politicians intend. The flow of angry words seems to have activated and in a sense legitimized what the historian Richard Hofstadter called the 'paranoid strain' in American politics." - Arthur Schlesinger, Jr., Wall Street Journal, June 7, 1995

    This seemingly small phenomenon symbolizes a significant social change that Robert Putnam has identified in this brilliant volume, which The Economist hailed as "a prodigious achievement."Drawing on vast new data that reveal Americans' changing behavior, Putnam shows how we have become increasingly disconnected from one another and how social structures--whether they be PTA, church, or political parties--have disintegrated. Until the publication of this groundbreaking work, no one had so deftly diagnosed the harm that these broken bonds have wreaked on our physical and civic health, nor had anyone exalted their fundamental power in creating a society that is happy, healthy, and safe.Like defining works from the past, such as The Lonely Crowd and The Affluent Society, and like the works of C. Wright Mills and Betty Friedan, Putnam's Bowling Alone has identified a central crisis at the heart of our society and suggests what we can do.

    His 1976 exhibition, Photographs by William Eggleston, at the Museum of Modern Art in New York, marked a turning point in the history of photography: this was when color photography gained recognition as a medium of artistic expression. His intense and dramatic use of color and "democratic" approach to mundane subject matter continue to have an enormous impact on contemporary photographic practice. Published to accompany a French exhibition, this book brings together Eggleston's most significant works, from his first experiments in black-and-white to a series of photographs of Kyoto produced specifically for the exhibit. Drawing on public and private collections in Europe and the United States, the book includes vintage prints executed in the technique most characteristic of his work, the dye transfer process, as well as many lesser-known and previously unseen photographs. From Mississippi to Berlin, Kenya to Asia, Eggleston has tirelessly explored the wider world, transforming, through his camera, the ordinary into the extraordinary. Distributed on behalf of the Fondation Cartier pour l'art contemporain. 160 color photographs.

    The Structure of Scientific Revolutions is that kind of book. When it was first published in 1962, it was a landmark event in the history and philosophy of science. Fifty years later, it still has many lessons to teach. With The Structure of Scientific Revolutions, Kuhn challenged long-standing linear notions of scientific progress, arguing that transformative ideas don’t arise from the day-to-day, gradual process of experimentation and data accumulation but that the revolutions in science, those breakthrough moments that disrupt accepted thinking and offer unanticipated ideas, occur outside of “normal science,” as he called it. Though Kuhn was writing when physics ruled the sciences, his ideas on how scientific revolutions bring order to the anomalies that amass over time in research experiments are still instructive in our biotech age. This new edition of Kuhn’s essential work in the history of science includes an insightful introduction by Ian Hacking, which clarifies terms popularized by Kuhn, including paradigm and incommensurability, and applies Kuhn’s ideas to the science of today. Usefully keyed to the separate sections of the book, Hacking’s introduction provides important background information as well as a contemporary context.  Newly designed, with an expanded index, this edition will be eagerly welcomed by the next generation of readers seeking to understand the history of our perspectives on science.

    Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways -- as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today's mainstream Western art -- which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself -- by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    'Here Comes Everybody' is an examination of how the spread of new forms of social interaction enabled by technology is changing the way humans form and exist within groups, with profound long-term economic and social effects, for good and for ill.

     Thomas Jefferson famously wrote that “the tree of Liberty must be refreshed from time to time with the blood of patriots and tyrants. It is its natural manure.” In America in 2010, Glenn Beck provides the very refreshment Jefferson had in mind: Whether he’s the patriot or the tyrant, he’s definitely full of manure. The wildly popular Fox News host with three million daily viewers perfectly captures the vitriol of our time and the fact-free state of our political culture. The secret to his success is his willingness to traffic in the fringe conspiracies and Internet hearsay that others wouldn’t touch with a ten-foot pole: death panels, government health insurance for dogs, FEMA concen­tration camps, an Obama security force like Hitler’s SS. But Beck, who is, according to a recent Gallup poll, admired by more Americans than the Pope, has nothing in his background that identifies him as an ideologue, giving rise to the speculation that his right-wing shtick is just that—the act of a brilliant showman, known for both his over-the-top daily out­rages and for weeping on the air. Milbank describes, with lacerating wit, just how the former shock jock without a college degree has managed to become the most recognizable leader of antigovernment conservatives and exposes him as the guy who is single-handedly giving patri­otism a bad name.

    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.

    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.

    Laing is at his most wickedly iconoclastic in this eloquent assault on conventional morality. Unorthodox to some, brilliantly original to others, The Politics of Experience goes beyond the usual theories of mental illness and alienation, and makes a convincing case for the "madness of morality." Compelling, unsettling, consistently absorbing, The Politics of Experience is a classic of genuine importance that will "excite, enthrall, and disturb. No one who reads it will remain unaffected." (Rollo May, Saturday Review)

    G. Lord was becoming a teenager in Southern California and her mother was dying of cancer, Lord's father-an archetypal, remote, rocket engineer- disappeared into his work at the Jet Propulsion Laboratory in Pasadena, building the space probes of the Mariner Mars 69 mission. Thirty years later, Lord found herself reporting on the JPL, triggering childhood memories and a desire to revisit her past as a way of understanding the ethos of rocket science. Astro Turf is the brilliant result of her journey of discovery.Remembering her pain at her father's absence, yet intrigued by what he did, Lord captures him on the page as she recalls her own youthful, eccentric fascination with science and space exploration. Into her family's saga she weaves the story of the legendary JPL- examining the complexities of its cultural history, from its start in 1936 to the triumphant Mars landings in 2004. She illuminates its founder, Frank Malina, whose brilliance in rocketry was shadowed by a flirtation with communism, driving him from the country even as we welcomed Wernher von Braun and his Nazi colleagues. Lord's own love of science fiction becomes a lens through which she views a profound cultural shift in the male-dominated world of space. And in pursuing the cause of her father's absence she stumbles on a hidden guilt, understanding "the anguish his proud silence caused both him and me, and how rooted that silence was in the culture of engineering."As in her acclaimed book Forever Barbie, which demystified an icon of feminine culture, Lord brings her penetrating insight to bear on a bastion of American masculinity, opening our eyes in unexpected and memorable ways.