In a unique visual dialogue, Deja View brings together the work of beloved photographer Martin Parr, master of capturing the art in everyday existence, with The Anonymous Project's archive of unidentified vintage slides, collected from across Europe and America. Surprising and delighting in their similarity, these affectionately matched images celebrate photography's power to capture the small moments of humour, warmth, ennui and absurdity that are in fact our most important of all.

The illustrated, inside story of the legendary hacktivist group's origins and most daring exploits. A for Anonymous shows how a leaderless band of volunteers successfully used hacktivism to fight for the underdog, embarrass their rich and powerful targets--from Sony and Paypal to the Church of Scientology and Ferguson Police Department--all in the name of freedom of speech and information. Their exploits blurred the distinction between "online" and "reality," and help shape our contemporary world.

Anonymous photography has a magic all its own. This book explores various aspects of human experience - both public and private. It contains over 220 photographs that showcase the work of photographers whose identities have been lost in time.

#1 New York Times and #1 Wall Street Journal bestseller: An unprecedented behind-the-scenes portrait of the Trump presidency from the anonymous senior official whose first words of warning about the president rocked the nation's capital. On September 5, 2018, the New York Times published a bombshell essay and took the rare step of granting its writer anonymity. Described only as "a senior official in the Trump administration," the author provided eyewitness insight into White House chaos, administration instability, and the people working to keep Donald Trump's reckless impulses in check. With the 2020 election on the horizon, Anonymous is speaking out once again. In this book, the original author pulls back the curtain even further, offering a first-of-its-kind look at the president and his record -- a must-read before Election Day. It will surprise and challenge both Democrats and Republicans, motivate them to consider how we judge our nation's leaders, and illuminate the consequences of re-electing a commander in chief unfit for the role. This book is a sobering assessment of the man in the Oval Office and a warning about something even more important -- who we are as a people.

The Concept of History reflects on the presuppositions behind the contemporary understanding of history that often remain implicit and not spelled out. It is a critique of the modern understanding of history that presents it as universal and teleological, progressively moving forward to an end. Although few contemporary philosophers and historians maintain the view that there is strict universality and teleology in history, the remnants of these positions still affect our understanding of history. But if history is not universal and singular, evolving toward an objective universal end, it should be possible to admit of multiple histories, some of which we appropriate as our own. An another important aspect of this book is that if provides an account of history that is itself both historical and rooted in attempts to narrate and explain history from its inception in antiquity. The book seeks to establish features or constituents of history that might be found in any historical account and might themselves be considered historical invariants in history.

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.