Politics and the Architecture of Choice draws on work in political science, economics, cognitive science, and psychology to offer an innovative theory of how people and organizations adapt to change and why these adaptations don't always work. Our decision-making capabilities, Jones argues, are both rational and adaptive. But because our rationality is bounded and our adaptability limited, our actions are not based simply on objective information from our environments. Instead, we overemphasize some factors and neglect others, and our inherited limitations—such as short-term memory capacity—all act to affect our judgment. Jones shows how we compensate for and replicate these limitations in groups by linking the behavioral foundations of human nature to the operation of large-scale organizations in modern society. Situating his argument within the current debate over the rational choice model of human behavior, Jones argues that we should begin with rationality as a standard and then study the uniquely human ways in which we deviate from it.

Politics and the Architecture of Choice draws on work in political science, economics, cognitive science, and psychology to offer an innovative theory of how people and organizations adapt to change and why these adaptations don't always work. Our decision-making capabilities, Jones argues, are both rational and adaptive. But because our rationality is bounded and our adaptability limited, our actions are not based simply on objective information from our environments. Instead, we overemphasize some factors and neglect others, and our inherited limitations—such as short-term memory capacity—all act to affect our judgment. Jones shows how we compensate for and replicate these limitations in groups by linking the behavioral foundations of human nature to the operation of large-scale organizations in modern society. Situating his argument within the current debate over the rational choice model of human behavior, Jones argues that we should begin with rationality as a standard and then study the uniquely human ways in which we deviate from it.

What can political theory teach us about architecture, and what can it learn from paying closer attention to architecture? The essays assembled in this volume begin from a common postulate: that architecture is not merely a backdrop to political life but a political force in its own right. Each in their own way, they aim to give countenance to that claim, and to show how our thinking about politics can be enriched by reflecting on the built environment. The collection advances four lines of inquiry, probing the connection between architecture and political regimes; examining how architecture can be constitutive of the ethical and political realm; uncovering how architecture is enmeshed in logics of governmentality and in the political economy of the city; and asking to what extent we can think of architecture-tributary as it is to the flows of capital-as a partially autonomous social force. Taken together, the essays demonstrate the salience of a range of political theoretical approaches for the analysis of architecture, and show that architecture deserves a place as an object of study in political theory, alongside institutions, laws, norms, practices, imaginaries, and discourses.

Art historian Éva Forgács's book is an unusual take on the Bauhaus. She examines the school as shaped by the great forces of history as well as the personal dynamism of its faculty and students. The book focuses on the idea of the Bauhaus - the notion that the artist should be involved in the technological innovations of mechanization and mass production - rather than on its artefacts. Founded in 1919 by the architect Walter Gropius and closed down by the Nazis in 1933, the Bauhaus had to struggle through the years of Weimar Germany not only with its political foes but also with the often-diverging personal ambitions and concepts within its own ranks. It is the inner conflicts and their solutions, the continuous modification of the original Bauhaus idea by politics within and without, that make the history of the school and Forgács's account of it dramatic.

Explores the struggle to rebuild the site at Ground Zero, offering a social, political, cultural, and architectural history of the World Trade Center and the artistic, financial, and emotional challenges of creating a design for the site.

Many designs that appear in today's society will circulate and encounter audiences of many different cultures and languages. With communication comes responsibility; are designers aware of the meaning and impact of their work? An image or symbol that is acceptable in one culture can be offensive or even harmful in the next. A typeface or colour in a design might appear to be neutral, but its meaning is always culturally dependent. If designers learn to be aware of global cultural contexts, we can avoid stereotyping and help improve mutual understanding between people. Politics of Design is a collection of visual examples from around the world. Using ideas from anthropology and sociology, it creates surprising and educational insight in contemporary visual communication. The examples relate to the daily practice of both online and offline visual communication: typography, images, colour, symbols, and information. Politics of Design shows the importance of visual literacy when communicating beyond borders and cultures. It explores the cultural meaning behind the symbols, maps, photography, typography, and colours that are used every day. It is a practical guide for design and communication professionals and students to create more effective and responsible visual communication.

Murray Edelman holds a unique and distinguished position in American political science. For decades one of the few serious scholars to question dominant rational-choice interpretations of politics, Edelman looked instead to the powerful influence of signs, spectacles, and symbols—of culture—on political behavior and political institutions. His first, now classic, book, The Symbolic Uses of Politics, created paths of inquiry in political science, communication studies, and sociology that are still being explored today. In this book, Edelman continues his quest to understand the influence of perception on the political process by turning to the role of art. He argues that political ideas, language, and actions cannot help but be based upon the images and narratives we take from literature, paintings, film, television, and other genres. Edelman believes art provides us with models, scenarios, narratives, and images we draw upon in order to make sense of political events, and he explores the different ways art can shape political perceptions and actions to both promote and inhibit diversity and democracy. "Elegantly written. . . . He brilliantly contends that art helps create the images from which opinion-molders and citizens construct the social realities of politics."—Choice "It is perhaps the freshness with which he puts his case that is what makes From Art to Politics, as well as his other works, so challenging and invigorating."—Philip Abbott, Review of Politics