Swifian fables about two robot constructors who can make anything in the universe, and end up messing up the universe.

A Swiftian satire on a modern world ruled by information, robots, and artificial intelligence, as embodied in two little robot constructors who travel the universe, helping those in need, building revolutionary mechanisms, and getting into unintended mischief.

The misadventures of a misunderstood superhero from the misplaced land of Chalmatia

This volume is an insightful, fresh and wide ranging evaluation of the conceptual challenges of globalization and the new information era.

Governing Fables: Learning from Public Sector Narratives advocates the importance of narrative for public servants, exemplifies it with a rigorously selected and analyzed set of narratives, and imparts narrative skills politicians and public servants need in their careers. Governing Fables turns to narratology, the inter-disciplinary study of narrative, for a conceptual framework that is applied to a set of narratives engaging life within public organizations, focusing on works produced during the last twenty-five years in the US and UK. The genres discussed include British government narratives inspired by and reacting to Yes Minister, British appeasement narratives, American political narratives, the Cuban Missile Crisis narrative, jury decision-making narratives, and heroic teacher narratives. In each genre lessons are presented regarding both effective management and essential narrative skills. Governing Fables is intended for public management and political science scholars and practitioners interested in leadership and management, as well as readers drawn to the political subject matter and to the genre of political films, novels, and television series.

- Since the cave mornings of Cro-Magnon man has painted and decorated with colour solutions - In the Digital Age it will be natural - even compelling - to question the traditional painting, its status and legitimacy. - Has the traditional physical painting become a mere thing of the past, an antique, a relic or an artifact from the archives of art history? - In millenniums art has rebelled; shaking of every reductive determination, spoken appraisal and valuation - disobedient and rebellious - striding for freedom; thus it has achieved our highest esteem. - Today art turns to its absolute emancipation: it releases itself from materialism and catapulted out into virtual reality the picture will at the same time become ubiquitous and non-existent: in the Digital Age the picture does not even have to exist!... Perishability, is it bygone? - Thus, Yesterday is passé; the 21th century poses: a new world has sought us out and it doesn’t backtrack, it boasts itself in an unknown brash semiotic: gigabytes, GUI and GIF, can you Google it? IT is today to be; or bail out. - The magic words of our time are clipart, download, edutainment, freeware, hotspot, hyperlink, net-etiquette, screendump, webhotel ... and remember WYSIWYG isn’t always trustworthy. The world anno post-MM is a hip hypertext: to be or not to be down loaded... that is the question. - In the Digital Era everything is digitised and infused by virtuality - everything is constituted by; everything is this diffusion. Therefore, in the Digital Era it is expected that digitisation and virtualization will penetrate art, and vice versa that art will digitise itself. - The Work of Art in the Digital Age explores from a philosophical point of view (i) how this fusion takes place, (ii) the relationship between the digital image and traditional painting and especially (iii) the status and legitimacy of the traditional physical painting in the current Digital Era.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.