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Interpreting the myths of the digital age: why we believed in the power of cyberspace to open up a new world.

Who wields power--and how--in environmental policy making at the state level, and how to fight ingrained favoritism toward coal and electric utilities.  A rare insider's story.Dr. Michael Mann, 2019 winner of the prestigious Tyler Prize for Environmental Achievement, calls Climate of Capitulation a "no-holds-barred exposé" and a "must-read."2018 book award, PROSE competition (Honorable Mention, Government and Politics), a much-coveted recognition for "the very best in professional and scholarly publishing."In Climate of Capitulation, Vivian Thomson offers an insider's account of how power is wielded at the state level when coal air pollution threatens people and ecosystems. Professor Thomson, a former member of Virginia's State Air Pollution Control Board, identifies a "climate of capitulation" in state government -- a deeply rooted favoritism toward coal and electric utilities in states' air pollution policies.Thomson illuminates overt and covert power struggles that involved a host of players, including Governor Tim Kaine, and she exposes the root causes of Virginia's climate of capitulation. Extending her analysis to fifteen other coal-dependent states, Thomson offers policy reforms aimed at mitigating ingrained biases toward coal and electric utilities in states' air pollution policy making.

A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power.Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. 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.

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We live in a dynamic economic and commerical world, surrounded by objects of remarkable complexity and power. In many industries, changes in products and technologies have brought with them new kinds of firms and forms of organization. We are discovering news ways of structuring work, of bringing buyers and sellers together, and of creating and using market information. Although our fast-moving economy often seems to be outside of our influence or control, human beings create the things that create the market forces. Devices, software programs, production processes, contracts, firms, and markets are all the fruit of purposeful action: they are designed. Using the computer industry as an example, Carliss Y. Baldwin and Kim B. Clark develop a powerful theory of design and industrial evolution. They argue that the industry has experienced previously unimaginable levels of innovation and growth because it embraced the concept of modularity, building complex products from smaller subsystems that can be designed independently yet function together as a whole. Modularity freed designers to experiment with different approaches, as long as they obeyed the established design rules. Drawing upon the literatures of industrial organization, real options, and computer architecture, the authors provide insight into the forces of change that drive today's economy.

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We live in a dynamic economic and commerical world, surrounded by objects of remarkable complexity and power. In many industries, changes in products and technologies have brought with them new kinds of firms and forms of organization. We are discovering news ways of structuring work, of bringing buyers and sellers together, and of creating and using market information. Although our fast-moving economy often seems to be outside of our influence or control, human beings create the things that create the market forces. Devices, software programs, production processes, contracts, firms, and markets are all the fruit of purposeful action: they are designed. Using the computer industry as an example, Carliss Y. Baldwin and Kim B. Clark develop a powerful theory of design and industrial evolution. They argue that the industry has experienced previously unimaginable levels of innovation and growth because it embraced the concept of modularity, building complex products from smaller subsystems that can be designed independently yet function together as a whole. Modularity freed designers to experiment with different approaches, as long as they obeyed the established design rules. Drawing upon the literatures of industrial organization, real options, and computer architecture, the authors provide insight into the forces of change that drive today's economy.

Based on the author’s extensive study of biomedical chemistry and brain science at the Massachusetts Institute of Technology, You Are Psychic! Shows how you can tap into your own psychic abilities at will to experience virtually limitless knowledge and control of your own destiny.   Sharing the techniques that he and his associates have taught to more than 100,000 people, MIT graduate and researcher Pete Sanders, Jr., provides a program of simple exercise that will teach you how to   · Locate the body’s four Psychic Reception Areas and determine whether you are strongest in psychic vision, hearing, intuition, or feeling   · Experience nine senses, not just five   · Tap your extrasensory awareness whenever you wish   · Use your psychic abilities to move ahead at work, improve relationships, stabilize and heal body systems, and become more creative   · Solve complex problems and handle difficult people with ease using your sharper perceptual powers   · And much, much more

A modern classic about how people really make decisions: drawing on prior experience, using a combination of intuition and analysis.Since its publication twenty years ago, Sources of Power has been enormously influential. The book has sold more than 50,000 copies, has been translated into six languages, has been cited in professional journals that range from Journal of Marketing Research to Journal of Nursing, and is mentioned by Malcolm Gladwell in Blink. Author Gary Klein has collaborated with Nobel laureate Daniel Kahneman and served on a team that redesigned the White House Situation Room to support more effective decision making. The model of decision making Klein proposes in the book has been adopted in fields including law enforcement training and petrochemical plant operation. What is the groundbreaking new way to approach decision making described in this modern classic? We have all seen images of firefighters rescuing people from burning buildings and paramedics treating bombing victims. How do these individuals make the split-second decisions that save lives? Most studies of decision making, based on artificial tasks assigned in laboratory settings, view people as biased and unskilled. Klein proposes a naturalistic approach to decision making, which views people as gaining experience that enables them to use a combination of intuition and analysis to make decisions. To illustrate this approach, Klein tells stories of people―from pilots to chess masters―acting under such real-life constraints as time pressure, high stakes, personal responsibility, and shifting conditions.

The first systematic, quantitative appraisal of power density, offering detailed reviews of power densities of renewable energy flows, fossil fuels, and all common energy uses.“There's no author whose books I look forward to more than Vaclav Smil.”―Bill GatesIn this book, Vaclav Smil argues that power density is a key determinant of the nature and dynamics of energy systems. Any understanding of complex energy systems must rely on quantitative measures of many fundamental variables. Power density―the rate of energy flux per unit of area―is an important but largely overlooked measure. Smil provides the first systematic, quantitative appraisal of power density, offering detailed reviews of the power densities of renewable energy flows, fossil fuels, thermal electricity generation, and all common energy uses.Smil shows that careful quantification, critical appraisals, and revealing comparisons of power densities make possible a deeper understanding of the ways we harness, convert, and use energies. Conscientious assessment of power densities, he argues, proves particularly revealing when contrasting the fossil fuel–based energy system with renewable energy conversions. Smil explains that modern civilization has evolved as a direct expression of the high power densities of fossil fuel extraction. He argues that our inevitable (and desirable) move to new energy arrangements involving conversions of lower-density renewable energy sources will require our society―currently dominated by megacities and concentrated industrial production―to undergo a profound spatial restructuring of its energy system.

A history and theory of the powers, the failures, and even the pleasures of paperwork.Since the middle of the eighteenth century, political thinkers of all kinds―radical and reactionary, professional and amateur―have been complaining about “bureaucracy.” But what, exactly, are they complaining about?In The Demon of Writing, Ben Kafka offers a critical history and theory of one of the most ubiquitous, least understood forms of media: paperwork. States rely on records to tax and spend, protect and serve, discipline and punish. But time and again, this paperwork proves to be unreliable. Examining episodes that range from the story of a clerk who lost his job and then his mind in the French Revolution to an account of Roland Barthes's brief stint as a university administrator, Kafka reveals the powers, the failures, and even the pleasures of paperwork. Many of its complexities, he argues, have been obscured by the comic-paranoid style that characterizes much of our criticism of bureaucracy. Kafka proposes a new theory of what Karl Marx called the “bureaucratic medium.” Moving from Marx to Freud, he argues that this theory of paperwork must include both a theory of praxis and of parapraxis.

An exploration of the way videogames mount arguments and make expressive statements about the world that analyzes their unique persuasive power in terms of their computational properties.Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric. Bogost calls this new form "procedural rhetoric," a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning.

How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students.Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles―other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects.Effects artists say―contrary to the critics―that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects―whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres―and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.

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A poetic study of a singular form of urban industrial art and its place in American culture.They lie underfoot, embellished and gleaming. They seal off and provide entry to an underground world of conduits, water mains, power lines, and sewers. They appear by the thousands in our cities, but very few people ever look at them or think about them as art. At once completely ordinary and totally unexpected, manhole covers present an infinite variety of design in the commonplace as well as a record of defunct utility companies, forgotten business firms, and obsolete foundries. Manhole Covers documents this singular form of urban industrial art and its place in American culture.Mimi and Robert Melnick first revealed their obsession with street hardware twenty years ago in a remarkable little book called Manhole Covers of Los Angeles (1974). Printed in a small format and a limited edition, it quickly went out of print and is now a scarce collector's item. But that was just an introduction to their larger project, which has come to fruition in this book of 200 photographs and an extended narrative documenting manhole covers throughout the United States and discussing the history of their use, manufacture, and function.A subject that at first seems straightforward and commonplace becomes redolent and poetic in the Melnicks' hands, for their hieroglyphic reading of manhole covers reveals a chapter of urban history that can only be recovered from the logos and markings of these early disks. There are square lids, convex lids, perforated lids. And the older ones wear an astonishingly diverse range of anything-but-blank faces expressed in raised crosses, waffle grids, cut-out diamonds, radial stars, floral patterns, and honeycomb treads. The diversity of design corresponds to an equally diverse typology of form and function, as indicated by their evocative labels: handholes, vents, coalholes, grates, lampholes, storm drains, steam covers, meter lids, traffic buttons.

To harness the full power of computer technology, economists need to use a broad range of mathematical techniques. In this book, Kenneth Judd presents techniques from the numerical analysis and applied mathematics literatures and shows how to use them in economic analyses. The book is divided into five parts. Part I provides a general introduction. Part II presents basics from numerical analysis on R^n, including linear equations, iterative methods, optimization, nonlinear equations, approximation methods, numerical integration and differentiation, and Monte Carlo methods. Part III covers methods for dynamic problems, including finite difference methods, projection methods, and numerical dynamic programming. Part IV covers perturbation and asymptotic solution methods. Finally, Part V covers applications to dynamic equilibrium analysis, including solution methods for perfect foresight models and rational expectation models. A website contains supplementary material including programs and answers to exercises.

A foundational text offering a unified design vocabulary and a common methodology for maximizing the expressive power of digital artifacts.Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field.Murray explains that innovative interaction designers should think of all objects made with bits―whether games or Web pages, robots or the latest killer apps―as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations―creative exercises for students and thought experiments for practitioners―that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts.

A writer-musician examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power.Our voices carry farther than ever before, thanks to digital media. But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing―modeled on Ways ofSeeing, John Berger's influential 1972 book on visual culture―Krukowski offers readers a set of tools for critical listening in the digital age. Just as Waysof Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds.Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid “ear contact” with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only?

The artistic power of these colored pencil and chalk drawings by Rabinowitch lies in making the viewer a central part of their process.

An argument that great expressive power of computational media arises from the construction of phantasms―blends of cultural ideas and sensory imagination.In Phantasmal Media, D. Fox Harrell considers the expressive power of computational media. He argues, forcefully and persuasively, that the great expressive potential of computational media comes from the ability to construct and reveal phantasms―blends of cultural ideas and sensory imagination. These ubiquitous and often-unseen phantasms―cognitive phenomena that include sense of self, metaphors, social categories, narrative, and poetic thinking―influence almost all our everyday experiences. Harrell offers an approach for understanding and designing computational systems that have the power to evoke these phantasms, paying special attention to the exposure of oppressive phantasms and the creation of empowering ones. He argues for the importance of cultural content, diverse worldviews, and social values in computing. The expressive power of phantasms is not purely aesthetic, he contends; phantasmal media can express and construct the types of meaning central to the human condition.Harrell discusses, among other topics, the phantasm as an orienting perspective for developers; expressive epistemologies, or data structures based on subjective human worldviews; morphic semiotics (building on the computer scientist Joseph Goguen's theory of algebraic semiotics); cultural phantasms that influence consensus and reveal other perspectives; computing systems based on cultural models; interaction and expression; and the ways that real-world information is mapped onto, and instantiated by, computational data structures.The concept of phantasmal media, Harrell argues, offers new possibilities for using the computer to understand and improve the human condition through the human capacity to imagine.