Instead we remain poised and frozen, overwhelmed by an always-on, live-streamed reality that our human bodies and minds can never truly inhabit. And our failure to do so has had wide-ranging effects on every aspect of our lives.People spent the twentieth century obsessed with the future. We created technologies that would help connect us faster, gather news, map the planet, compile knowledge, and connect with anyone, at anytime. We strove for an instantaneous network where time and space could be compressed.Well, the future's arrived. We live in a continuous now enabled by Twitter, email, and a so-called real-time technological shift. Yet this now is an elusive goal that we can never quite reach. And the dissonance between our digital selves and our analog bodies has thrown us into a new state of anxiety: present shock.Rushkoff weaves together seemingly disparate events and trends into a rich, nuanced portrait of how life in the eternal present has affected our biology, behavior, politics, and culture. He explains how the rise of zombie apocalypse fiction signals our intense desire for an ending; how the Tea Party and Occupy Wall Street form two sides of the same post-narrative coin; how corporate investing in the future has been replaced by futile efforts to game the stock market in real time; why social networks make people anxious and email can feel like an assault. He examines how the tragedy of 9/11 disconnected an entire generation from a sense of history, and delves into why conspiracy theories actually comfort us.As both individuals and communities, we have a choice. We can struggle through the onslaught of information and play an eternal game of catch-up. Or we can choose to live in the present: favor eye contact over texting; quality over speed; and human quirks over digital perfection. Rushkoff offers hope for anyone seeking to transcend the false now.Absorbing and thought-provoking, Present Shock is a wide-ranging, deeply thought meditation on what it means to be human in real-time.

    The text has influenced thinkers such as Judith Butler, Ernesto Laclau and Slavoj Žižek.The piece is, in fact, an extract from a much longer book, On the Reproduction of Capitalism, until now unavailable in English. Its publication makes possible a reappraisal of seminal Althusserian texts already available in English, their place in Althusser’s oeuvre and the relevance of his ideas for contemporary theory. On the Reproduction of Capitalism develops Althusser’s conception of historical materialism, outlining the conditions of reproduction in capitalist society and the revolutionary struggle for its overthrow.Written in the afterglow of May 1968, the text addresses a question that continues to haunt us today: in a society that proclaims its attachment to the ideals of liberty and equality, why do we witness the ever-renewed reproduction of relations of domination? Both a conceptually innovative text and a key theoretical tool for activists, On the Reproduction of Capitalism is an essential addition to the corpus of the twentieth-century Left.

    In their sharing of the term, both kinds of clouds reveal an essential truth: that the natural world and the technological world are not so distinct. In The Marvelous Clouds, John Durham Peters argues that though we often think of media as environments, the reverse is just as true—environments are media. Peters defines media expansively as elements that compose the human world. Drawing from ideas implicit in media philosophy, Peters argues that media are more than carriers of messages: they are the very infrastructures combining nature and culture that allow human life to thrive.  Through an encyclopedic array of examples from the oceans to the skies, The Marvelous Clouds reveals the long prehistory of so-called new media. Digital media, Peters argues, are an extension of early practices tied to the establishment of civilization such as mastering fire, building calendars, reading the stars, creating language, and establishing religions. New media do not take us into uncharted waters, but rather confront us with the deepest and oldest questions of society and ecology: how to manage the relations people have with themselves, others, and the natural world. A wide-ranging meditation on the many means we have employed to cope with the struggles of existence—from navigation to farming, meteorology to Google—The Marvelous Clouds shows how media lie at the very heart of our interactions with the world around us.  Peters’s  book will not only change how we think about media but provide a new appreciation for the day-to-day foundations of life on earth that we so often take for granted.

    Published in early 1968, it both kindled and colored the May 1968 upheavals in France, which captured the attention of the world. Naming and defining the alienating features of everyday life in consumer society: survival rather than living in full, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and the replacement of God by the economy, the book argues that the countervailing impulses that exist within deep alienation - creativity, spontaneity, poetry present an authentic alternative to nilhilistic consumerism. This carefully edited new translation marks the first North American publication of this important work and includes a new preface by the author.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session.The book is at once an affectionate look back over the multiple roles played by animals in Derrida's work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction—dating from Descartes—between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single "the animal." Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Lévinas, and he dedicates extended analyses to the question in the work of each of them.The book's autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida's experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of "man's dominion over the beasts" and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of "life" to which he returned in much of his later work.Collection: Perspectives in Continental Philosophy

    A classic text by the author who developed ELIZA, a natural-language processing system.

    It is a collection of essays by one of Canada's greatest historians, on a subject that opened broad new avenues of thought on the role of media in the creation of history. Marshall McLuhan, deeply influenced by these essays, led North America to a new awareness of the role of media in contemporary culture. The works of Harold Innis are seminal in the study of Canadian history; the essays in this volume continue to generate intense dabate among historians, communications scholars, and media theorists.

    This second edition, newly introduced by Marcuse scholar Douglas Kellner, presents Marcuse's best-selling work to another generation of readers in the context of contemporary events.

    He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power.The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power.The Field of Cultural Production will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies.

    With the unwitting help of its users, the generative Internet is on a path to a lockdown, ending its cycle of innovation—and facilitating unsettling new kinds of control.IPods, iPhones, Xboxes, and TiVos represent the first wave of Internet-centered products that can’t be easily modified by anyone except their vendors or selected partners. These “tethered appliances” have already been used in remarkable but little-known ways: car GPS systems have been reconfigured at the demand of law enforcement to eavesdrop on the occupants at all times, and digital video recorders have been ordered to self-destruct thanks to a lawsuit against the manufacturer thousands of miles away. New Web 2.0 platforms like Google mash-ups and Facebook are rightly touted—but their applications can be similarly monitored and eliminated from a central source. As tethered appliances and applications eclipse the PC, the very nature of the Internet—its “generativity,” or innovative character—is at risk.The Internet’s current trajectory is one of lost opportunity. Its salvation, Zittrain argues, lies in the hands of its millions of users. Drawing on generative technologies like Wikipedia that have so far survived their own successes, this book shows how to develop new technologies and social structures that allow users to work creatively and collaboratively, participate in solutions, and become true “netizens.”The book is available to download under a Creative Commons Attribution Non-Commercial Share-Alike 3.0 license: Download PDF. http://futureoftheinternet.org/download

    Thomas Lamarre contends that the history, techniques, and complex visual language of animation, particularly Japanese animation, demands serious and sustained engagement, and in The Anime Machine he lays the foundation for a new critical theory for reading Japanese animation, showing how anime fundamentally differs from other visual media.The Anime Machine defines the visual characteristics of anime and the meanings generated by those specifically "animetic" effects-the multiplanar image, the distributive field of vision, exploded projection, modulation, and other techniques of character animation-through close analysis of major films and television series, studios, animators, and directors, as well as Japanese theories of animation. Lamarre first addresses the technology of anime: the cells on which the images are drawn, the animation stand at which the animator works, the layers of drawings in a frame, the techniques of drawing and blurring lines, how characters are made to move. He then examines foundational works of anime, including the films and television series of Miyazaki Hayao and Anno Hideaki, the multimedia art of Murakami Takashi, and CLAMP's manga and anime adaptations, to illuminate the profound connections between animators, characters, spectators, and technology.Working at the intersection of the philosophy of technology and the history of thought, Lamarre explores how anime and its related media entail material orientations and demonstrates concretely how the "animetic machine" encourages a specific approach to thinking about technology and opens new ways for understanding our place in the technologized world around us.

    Precarization and fractalization of labor have provoked a deep mutation in the psychosphere, and this can be seen in the rise of psychopathologies such as post-traumatic stress disorder, autism, panic, and attention deficit disorder. Sketching out an aesthetic genealogy of capitalist globalization, Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information. A swarm effect now rules: it has become impossible to say "no." Social behavior is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.Arguing for disentanglement rather than resistance, Berardi concludes by evoking the myth of La Malinche, the daughter of a noble Aztec family. It is a tale of a translator and traitor who betrayed her own people, yet what the myth portends is the rebirth of the world from the collapse of the old.

    No longer confined to a subculture of adolescent males, video games today are played by adults around the world. At the same time, video games have become major sites of corporate exploitation and military recruitment.In Games of Empire, Nick Dyer-Witheford and Greig de Peuter offer a radical political critique of such video games and virtual environments as Second Life, World of Warcraft, and Grand Theft Auto, analyzing them as the exemplary media of Empire, the twenty-first-century hypercapitalist complex theorized by Michael Hardt and Antonio Negri. The authors trace the ascent of virtual gaming, assess its impact on creators and players alike, and delineate the relationships between games and reality, body and avatar, screen and street.Games of Empire forcefully connects video games to real-world concerns about globalization, militarism, and exploitation, from the horrors of African mines and Indian e-waste sites that underlie the entire industry, the role of labor in commercial game development, and the synergy between military simulation software and the battlefields of Iraq and Afghanistan exemplified by Full Spectrum Warrior to the substantial virtual economies surrounding World of Warcraft, the urban neoliberalism made playable in Grand Theft Auto, and the emergence of an alternative game culture through activist games and open-source game development.Rejecting both moral panic and glib enthusiasm, Games of Empire demonstrates how virtual games crystallize the cultural, political, and economic forces of global capital, while also providing a means of resisting them.