While the youth counterculture remains the most evocative and best-remembered symbol of the cultural ferment of the 1960s, the revolution that shook American business during those boom years has gone largely unremarked. In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined—and even anticipated — by such unlikely allies as the advertising industry and the men’s clothing business.

Publisher University of Chicago Press, 1998
ISBN 0226260127, 9780226260129
322 pages

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This book makes the startling case that North Americans were getting on the “information highway” as early as the 1700′s, and have been using it as a critical building block of their social, economic, and political world ever since.

By the time of the founding of the United States, there was a postal system and roads for the distribution of mail, copyright laws to protect intellectual property, and newspapers, books, and broadsides to bring information to a populace that was building a nation on the basis of an informed electorate. In the 19th century, Americans developed the telegraph, telephone, and motion pictures, inventions that further expanded the reach of information. In the 20th century they added television, computers, and the Internet, ultimately connecting themselves to a whole world of information.

From the beginning North Americans were willing to invest in the infrastructure to make such connectivity possible. This book explores what the deployment of these technologies says about American society. The editors assembled a group of contributors who are experts in their particular fields and worked with them to create a book that is fully integrated and cross-referenced.

Publisher Oxford University Press, 2003
ISBN 0195128141, 9780195128147
404 pages

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The recent financial crisis and Great Recession have been analysed endlessly in the mainstream and academia, but this is the first book to conclude, on the basis of in-depth analyses of official US data, that Marx’s crisis theory can explain these events.

Marx believed that the rate of profit has a tendency to fall, leading to economic crises and recessions. Many economists, Marxists among them, have dismissed this theory out of hand, but Andrew Kliman’s careful data analysis shows that the rate of profit did indeed decline after the post-World War II boom and that free-market policies failed to reverse the decline. The fall in profitability led to sluggish investment and economic growth, mounting debt problems, desperate attempts of governments to fight these problems by piling up even more debt – and ultimately to the Great Recession.

Kliman’s conclusion is simple but shocking: short of socialist transformation, the only way to escape the ‘new normal’ of a stagnant, crisis-prone economy is to restore profitability through full-scale destruction of existing wealth, something not seen since the Depression of the 1930s.

Publisher Pluto Press, 2011
ISBN 0745332390, 9780745332390
256 pages

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This classic work explores the vast differences between oral and literate cultures offering a very clear account of the intellectual, literary and social effects of writing, print and electronic technology.

In the course of his study, Walter J. Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.

This is a book no reader, writer or speaker should be without.

First published in 1982 by Methuen & Co. Ltd
Publisher Routledge, 2002
New Accents series
ISBN 0415281296, 9780415281294
204 pages

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Virtual Music is about artificial creativity. Focusing on the author’s Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics.

The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author’s responses to these commentaries, as well as his thoughts on the implications of artificial creativity.

The book includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also accompanied by a CD containing performances of the music in the text.

With commentary by Douglas Hofstadter
And with perspectives and analysis by Eleanor Selfridge-Field, Bernard Greenberg, Steve Larson, Jonathan Berger, and Daniel Dennett
Publisher MIT Press, 2001
ISBN 026203283X, 9780262032834
565 pages

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“Perception is not something that happens to us, or in us,” writes Alva Noë. “It is something we do.” In Action in Perception, Noë argues that perception and perceptual consciousness depend on capacities for action and thought—that perception is a kind of thoughtful activity. Touch, not vision, should be our model for perception. Perception is not a process in the brain, but a kind of skillful activity of the body as a whole. We enact our perceptual experience.

To perceive, according to this enactive approach to perception, is not merely to have sensations; it is to have sensations that we understand. In Action in Perception, Noë investigates the forms this understanding can take. He begins by arguing, on both phenomenological and empirical grounds, that the content of perception is not like the content of a picture; the world is not given to consciousness all at once but is gained gradually by active inquiry and exploration. Noë then argues that perceptual experience acquires content thanks to our possession and exercise of practical bodily knowledge, and examines, among other topics, the problems posed by spatial content and the experience of color. He considers the perspectival aspect of the representational content of experience and assesses the place of thought and understanding in experience. Finally, he explores the implications of the enactive approach for our understanding of the neuroscience of perception.

Publisher MIT Press, 2004
ISBN 0262140888, 9780262140881
277 pages

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- A ground-breaking collection of essays on an underexplored topic in philosophy
- A comprehensive introduction will be useful for specialists and non-specialists alike
- All essays published here for the first time

Sounds and Perception is a collection of original essays on auditory perception and the nature of sounds – an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The individual essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. This collection will serve both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. The views are original, and there is substantive engagement among contributors. This collection will stimulate future research in this area.

Publisher Oxford University Press, 2009
ISBN 019928296X, 9780199282968
270 pages

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- Brings philosophy together with the science of sound and hearing
- A must-read for philosophers of perception
- Imaginative and rigorous; breaks new ground in the philosophy of mind and metaphysics
- Opens up a new subject for philosophy

Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O’Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind.

Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O’Callaghan argues that, on any perceptually plausible account, sounds are events. But this does not imply that sounds are waves that propagate through a medium, such as air or water. Rather, sounds are events that take place in one’s environment at or near the objects and happenings that bring them about. This account captures the way in which sounds essentially are creatures of time, and situates sounds in a world populated by items and events that have significance for us. Sounds are not ethereal, mysterious entities.

O’Callaghan’s account of sounds and their perception discloses far greater variety among the kinds of things we perceive than traditional views acknowledge. But more importantly, investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. Sounds articulates a powerful account of echoes, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories, and also reveals a number of surprising cross-modal perceptual illusions. O’Callaghan argues that such illusions demonstrate that the perceptual modalities cannot be completely understood in isolation, and that the visuocentric model for theorizing about perception – according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry – ought to be abandoned.

Publisher Oxford University Press, 2007
ISBN 0199215928, 9780199215928
193 pages

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Dieser Band würdigt das facettenreiche Werk Friedrich Kittlers, das sich von der Literaturwissenschaft über die Mediengeschichte und die Computerwissenschaft bis hin zur Mathematik, Kulturwissenschaft und Gräzistik erstreckt. Die Beiträge lassen die immense Vielfalt der Disziplinen und Gegenstände erkennen, die durch Kittlers Arbeiten Anregungen erhalten haben und nicht selten geradezu revolutioniert worden sind.

Editors Peter Berz, Annette Bitsch, Bernhard Siegert
Publisher Wilhelm Fink, Munich, 2003
ISBN 3770539168, 9783770539161
374 pages

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The entire range of John Cage’s work and thought, explored in three wide-ranging dialogues, which constitute his last unified statement on his art.

“I was obliged to find a radical way to work — to get at the real, at the root of the matter,” John Cage says in this trio of dialogues, completed just days before his death. His quest for the root of the matter led him beyond the bounds of the conventional in all his musical, written, and visual pieces. The resulting expansion of the definition of art — with its concomitant emphasis on innovation and invention–earned him a reputation as one of America’s most influential contemporary artists.

Joan Retallack’s conversations with Cage represent the first consideration of his artistic production in its entirety, across genres. Informed by the perspective of age, Cage’s comments range freely from his theories of chance and indeterminate composition to his long-time collaboration with Merce Cunningham to the aesthetics of his multimedia works. A composer for whom the whole world — with its brimming silences and anarchic harmonies — was a source of music, Cage once claimed, “There is no noise, only sounds.” As these interviews attest, that penchant for testing traditions reached far beyond his music. His lifelong project, Retallack writes in her comprehensive introduction, was “dislodging cultural authoritarianism and gridlock by inviting surprising conjunctions within carefully delimited frameworks and processes.” Consummate performer to the end, Cage delivers here just such a conjunction — a tour de force that provides new insights into the man and a clearer view of the status of art in the 20th century.

Publisher Wesleyan University Press, 1996
ISBN 0819563110, 9780819563118
408 pages

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Daphne Oram was educated at Sherborne School for Girls, and then, during the war, she joined the BBC in London as a Music Balancer. There she worked with most of the well known international musicians in the fields of chamber music and opera. But, alongside this work, she was intrigued by the possibilities of manipulating magnetic tape sound, and as early as 1948 began to build special equipment for experiments. She was the first to compose an electronic sound track for a BBC television play (Amphitryon 38), all the composing being done in the middle of the night (using quickly assembled equipment) in the deserted Broadcasting House studios.

When the BBC eventually built an experimental studio, the Radiophonic Workshop, Daphne Oram helped to design it and then directed it. In 1959, she decided to leave the BBC to create her own studio in her converted oasthouse at Wrotham, Kent. Since then, she has become internationally known for her work in films, television, theatre and radio; she has presented successful concerts of electronic compositions at the Mermaid Theatre, London, and at the Edinburgh International Festival. She has lectured widely–at London University, Cambridge University Arts Society, The Institute of Physics, Harrow School, Wellington College, Roedean, and at many other Colleges, Schools and Music Festivals. She has also appeared a number of times on television and in films.

For her Oramics research work, at her Kent studio, she received two Gulbenkian Foundation Grants.

Publihser Galliard Ltd, London; Galaxy Music Corporation, New York, 1972
Galliard paperbacks
ISBN: 0852491093
145 pages
via Michal Murin, via GussetBlog

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This is not a manifesto. Manifestos provide a glimpse of a world to come and also call into being the subject, who although now only a spector must materialize to become the agent of change. Manifestos work like the ancient prophets, who by the power of their vision create their own people. Today’s social movements have reversed the order, making manifestos and prophets obsolete. Agents of change have already descended into the streets and occupied city squares, not only threatening and toppling rulers but also conjuring visions of a new world. More important, perhaps, the multitudes, through their logics and practices, their slogans and desires, have declared a new set of priciples and truths. How can their declaration become the basis for constituting a new and sustainable society? How can those priciples and truths guide us in reinventing how we relate to each other and our world? In their rebellion, the multitudes must discover the passage from declaration to constitution.

Self-published on 8 May 2012
ISBN: 9780786752911
98 pages

commentary (by Nicholas Mirzoeff)

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Audiovisual Thinking is a leading journal of academic videos about audiovisuality, communication and media. The journal is a pioneering forum where academics and educators can articulate, conceptualize and disseminate their research about audiovisuality and audiovisual culture through the medium of video.

Issue 2: Rights and wrongs in the age of digital media
The second issue of Audiovisual Thinking focuses on how copyright and intellectual property issues relate to audiovisuality in general and academic video essays in particular.

Issue 3: The real, the virtual and the fictional
What is digital? What is virtual? How do the digital and the virtual relate to each other? Is virtual the opposite of real, or is it a subset of reality? And where in this does the fictional come in? Although philosophical, these issues have in many different ways impacted on how we think about identity, integrity, communication and media in this digital era we have created for ourselves.

Contact: Inge Ejbye Sørensen
Editorial board: Thommy Eriksson, Oranit Klein Shagrir, Inge Sørensen, Petri Kola, Sanna Marttila

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Architects look at thousands of buildings during their training, and study critiques of those buildings written by masters. In contrast, most software developers only ever get to know a handful of large programs well—usually programs they wrote themselves—and never study the great programs of history. As a result, they repeat one another’s mistakes rather than building on one another’s successes.

The goal of these two books is to change that. The authors of four dozen open source applications explain how their software is structured, and why. What are each program’s major components? How do they interact? And what did their builders learn during their development? In answering these questions, the contributors to these books provide unique insights into how they think.

If you are a junior developer, and want to learn how your more experienced colleagues think, these books are the place to start. If you are an intermediate or senior developer, and want to see how your peers have solved hard design problems, these books can help you too.

Published in March and May 2012
ISBN 9781257638017 (Vol I), 9781105571817 (Vol II)
Creative Commons Attribution 3.0 License Unported
432 and 390 pages

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Open Advice is a knowledge collection from a wide variety of Free Software projects. It answers the question what 42 prominent contributors would have liked to know when they started so you can get a head-start no matter how and where you contribute.

Free Software projects are changing the software landscape in impressive ways with dedicated users and innovative management. Each person contributes something to the movement in their own way and to their abilities and knowledge. This personal commitment and the power of collaboration over the internet is what makes Free Software great and what brought the authors of this book together.

This book is the answer to “What would you have liked to know when you started contributing?”. The authors give insights into the many different talents it takes to make a successful software project, coding of course but also design, translation, marketing and other skills. We are here to give you a head start if you are new. And if you have been contributing for a while already, we are here to give you some insight into other areas and projects.

With contributions by Georg Greve, Armijn Hemel, Evan Prodromou, Markus Kroetzsch, Felipe Ortega, Leslie Hawthorn, Kevin Ottens, Lydia Pintscher, Jeff Mitchell, Austin Appel, Thiago Macieira, Henri Bergius, Kai Blin, Ara Pulido, Andre Klapper, Jonathan Leto, Atul Jha, Rich Bowen, Anne Gentle, Shaun McCance, Runa Bhattacharjee, Guillaume Paumier, Federico Mena Quintero, Mairin Duffy Strode, Eugene Trounev, Robert Kaye, Jono Bacon, Alexandra Leisse, Jonathan Riddell, Thom May, Vincent Untz, Stuart Jarvis, Jos Poortvliet, Sally Khudairi, Noirin Plunkett, Dave Neary, Gareth J. Greenaway, Selena Deckelmann, Till Adam, Frank Karlitschek, Carlo Daffara, Dr. Till Jaeger, Shane Couglan

Published in 2012
ISBN 978-1-105-51493-7
Creative Commons BY-SA License
310 pages

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