A historical and theoretical analysis of corporate architecture in the United States after the Second World War. The Organizational Complex is a historical and theoretical analysis of corporate architecture in the United States after the Second World War. Its title refers to the aesthetic and technological extension of the military-industrial complex, in which architecture, computers, and corporations formed a network of objects, images, and discourses that realigned social relations and transformed the postwar landscape. In-depth case studies of architect Eero Saarinen's work for General Motors, IBM, and Bell Laboratories and analyses of office buildings designed by Skidmore, Owings & Merrill trace the emergence of a systems-based model of organization in architecture, in which the modular curtain wall acts as both an organizational device and a carrier of the corporate image. Such an image—of the corporation as a flexible, integrated system—is seen to correspond with a "humanization" of corporate life, as corporations decentralize both spatially and administratively. Parallel analyses follow the assimilation of cybernetics into aesthetics in the writings of artist and visual theorist Gyorgy Kepes, as art merges with techno-science in the service of a dynamic new "pattern-seeing." Image and system thus converge in the organizational complex, while top-down power dissolves into networked, pattern-based control. Architecture, as one among many media technologies, supplies the patterns—images of organic integration designed to regulate new and unstable human-machine assemblages.

In 1987 Judge Russell Clark mandated tax increases to help pay for improvements to the Kansas City, Missouri, School District in an effort to lure white students and quality teachers back to the inner-city district. Yet even after increasing employee salaries and constructing elaborate facilities at a cost of more than $2 billion, the district remained overwhelmingly segregated and student achievement remained far below national averages. Just eight years later the U.S. Supreme Court began reversing these initiatives, signifying a major retreat from Brown v. Board of Education. In Kansas City, African American families opposed to the district court's efforts organized a takeover of the school board and requested that the court case be closed. Joshua Dunn argues that Judge Clark's ruling was not the result of tyrannical "judicial activism" but was rather the logical outcome of previous contradictory Supreme Court doctrines. High Court decisions, Dunn explains, necessarily limit the policy choices available to lower court judges, introducing complications the Supreme Court would not anticipate. He demonstrates that the Kansas City case is a model lesson for the types of problems that develop for lower courts in any area in which the Supreme Court attempts to create significant change. Dunn's exploration of this landmark case deepens our understanding of when courts can and cannot successfully create and manage public policy.

This book covers all important nomenclature, theories of bonding and stereochemistry of coordination complexes. The authors have made an effort to inscribe the ideas knowledge, clearly and in an interesting way to benefit the readers. The complexities of Molecular Orbital theory have been explained in a very simple and easy manner. It also deals with transition and inner transition metals. Conceptually, all transition and inner transition elements form complexes which have definite geometry and show interesting properties. General and specific methods of preparation, physical and chemical properties of each element has been discussed at length. Group wise study of elements in d-block series have been explained. Important compounds, complexes and organometallic compounds of metals in different oxidation states have been given explicitly. Note: T&F does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

In The Wedding Complex Elizabeth Freeman explores the significance of the wedding ceremony by asking what the wedding becomes when you separate it from the idea of marriage. Freeman finds that weddings—as performances, fantasies, and rituals of transformation—are sites for imagining and enacting forms of social intimacy other than monogamous heterosexuality. Looking at the history of Anglo-American weddings and their depictions in American literature and popular culture from the antebellum era to the present, she reveals the cluster of queer desires at the heart of the "wedding complex"—longings not for marriage necessarily but for public forms of attachment, ceremony, pageantry, and celebration. Freeman draws on queer theory and social history to focus on a range of texts where weddings do not necessarily lead to legal marriage but instead reflect yearnings for intimate arrangements other than long-term, state-sanctioned, domestic couplehood. Beginning with a look at the debates over gay marriage, she proceeds to consider literary works by Nathaniel Hawthorne, William Faulkner, Carson McCullers, Vladimir Nabokov, and Edgar Allan Poe, along with such Hollywood films as Father of the Bride, The Graduate, and The Godfather. She also discusses less well-known texts such as Su Friedrich’s experimental film First Comes Love and the off-Broadway, interactive dinner play Tony ‘n’ Tina’s Wedding. Offering bold new ways to imagine attachment and belonging, and the public performance and recognition of social intimacy, The Wedding Complex is a major contribution to American studies, queer theory, and cultural studies.

Here is the new, hip, high-tech military-industrial complex--an omnipresent, hidden-in-plain-sight system of systems that penetrates all our lives. From iPods to Starbucks to Oakley sunglasses, historian Nick Turse explores the Pentagon's little-noticed contacts (and contracts) with the products and companies that now form the fabric of America. Turse investigates the remarkable range of military incursions into the civilian world: the Pentagon's collaborations with Hollywood filmmakers; its outlandish schemes to weaponize the wild kingdom; its joint ventures with the World Wrestling Federation and NASCAR. He shows the inventive ways the military, desperate for new recruits, now targets children and young adults, tapping into the "culture of cool" by making "friends" on MySpace. We are a long way from Eisenhower's military-industrial complex: this is its twenty-first-century progeny.--From publisher description.

Here is the story of the most influential men in the world--Ross Perot, Steven Jobs, Ted Turner, James Rouse, Daniel Ludwig, and Robert Swanson, men who set out to possess the world on their own terms. Readers can see what makes th ese extraordinary men tick, including the downfalls of being so driven to success.

With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror. While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare. In addition to obvious military-entertainment titles like AmericaÕs Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the publicÕs imagination of war in the post-9/11 era and naturalized the U.S. PentagonÕs vision of a new way of war.