Renowned for exploring the social implications of modern technology, Howard Rheingold has been dubbed by MIT "the first citizen of the Internet." In this collection of funny, prescient, thought-provoking essays, originally published during the 1970s and 1980s, he offers a glimpse into the changes wrought during that explosive period. From the effects of the graphic user interface (GUI) not only on how we work but how we think, to "technarchist" movements that presaged both the hacker mentality and the anarchist idealism of Burning Man today, to a ground-floor view of the very earliest of what Rheingold was the first to dub virtual communities, his Excursions run the gamut from the silly to the profound. These essays remain fascinating, amusing, and relevant. "Most of my work in recent decades," Rheingold says, "has focused on the consequences of digital media and networked publics. Before the digital wave came along, I wrote about a more diverse range of subjects: What causes anger? What’s it like to be in a car crash? What’s insect sex like? Do invisible airborne chemicals affect behavior? Can we control our dreams? How will people get high in the future? Will money evolve into new forms? In the second decade of the twenty-first century, these short pieces re-present my explorations during my think about anything years to a wider public who may be familiar with my work on digital culture."

A deeply thoughtful, deeply irreverent look at the mythology of play, Gods and Games ties together Joseph Campbell's approach to myth and religion with Johan Huizinga's view of our species as Homo ludens — "Man the Game-player" — which suggests that play is a central aspect of the human spirit and human culture. "A comprehensive and clear review.... loaded with quotations both pertinent and entertaining that may be eye-openers both to traditional religionists and readers who may never have thought about play in a philosophical or religious sense." —Publishers Weekly

Learning in the Age of Digital Reason contains 16 in-depth dialogues between Petar Jandrić and leading scholars and practitioners in diverse fields of history, philosophy, media theory, education, practice, activism, and arts. The book creates a postdisciplinary snapshot of our reality, and the ways we experience that reality, at the moment here and now. It historicises our current views to human learning, and experiments with collective knowledge making and the relationships between theory and practice. It stands firmly at the side of the weak and the oppressed, and aims at critical emancipation. Learning in the Age of Digital Reason is playful and serious. It addresses important issues of our times and avoids the omnipresent (academic) sin of pretentiousness, thus making an important statement: research and education can be sexy. Interlocutors presented in the book (in order of appearance): Larry Cuban, Andrew Feenberg, Michael Adrian Peters, Fred Turner, Richard Barbrook, McKenzie Wark, Henry Giroux, Peter McLaren, Siân Bayne, Howard Rheingold, Astra Taylor, Marcell Mars, Tomislav Medak, Ana Kuzmanić, Paul Levinson, Kathy Rae Huffman, Ana Peraica, Dmitry Vilensky (Chto Delat?), Christine Sinclair, and Hamish Mcleod.

Darwin Reid Payne's approach to theatrical design is that of a computer advocate and pioneer. With Computer Scenographics, he ushers in a new generation of scenery design by applying state-of-the-art technology to the traditional methods of scenography. Though not a how-to book, Computer Scenographics is a general introduction to, and an affirmation of, the value of computer graphics for both student and working scenographers. Payne acknowledges that many scenographers would not want to use computers exclusively in the preparation of their designs. Today's scenographers continue to value the manual skills of drawing and painting, learned and perfected over time, and would not consider abandoning these skills entirely. And it is unlikely that the most powerful computer or most sophisticated software could ever supplant that intimate interaction of hand and mind provided by traditional tools and materials. Nevertheless, Payne's utilization of the Virtus Walk-Through computer program to facilitate set design expands the tools of the artist to new dimensions. Aided by 129 illustrations, Payne addresses four major topics: (1) how computer studios are set up; (2) how computers serve as storage for visual ideas and as conceptual tools; (3) how technical information needed for producing a scenographer's ideas onstage is created with computers; (4) and how modelmaking has been changed by computer-generated three-dimensional possibilities, especially by the introduction of "virtual reality" onto the computer platform.

This is the first book that states the obvious: Marketing is a mess. Marketing guru Jack Trout intends to make a lot of people, who made the mess, very uncomfortable: Advertisers are criticized as people who look for the creative and edgy, not the obvious. They will not be happy. Marketing people are criticized for getting hopelessly entangled in corporate egos and complicated projects. They will not be happy. Research people are criticized for generating more confusion than clarity. They will not be happy. Some big companies are criticized for their ill-fated marketing programs or lack of proper strategy. They will not be happy. Wall Street is criticized for putting too much emphasis on growth that is unnecessary and can be destructive to a brand. They will just ignore this criticism and continue trying to make as much money as they can. But this is a book not written to make people happy but to explain to marketers what their real problem is. Only then will they begin to look for the obvious solutions that will separate their products from their competitors -- in a way that is equally obvious to customers. All this comes with no jargon, no numbers, no complexity, and a great deal of common sense.

The Noël Coward Reader offers a wonderfully wide-ranging selection—the first of its kind—of the best of the Master’s oeuvre, entertainingly annotated and abundantly illustrated, and including material that has never before been published. Here are scenes from Coward’s famous plays, from Private Lives to Blithe Spirit, and his screenplays, from Brief Encounter to In Which We Serve. Here are four of his best short stories, scenes from his only novel, and a generous selection of his verse, alongside the lyrics of many of his most sublime songs, including “Mad Dogs and Englishmen,” “The Stately Homes of England,” and “Mad About the Boy.” The Noël Coward Reader is a must-have book both for those who adore his work and for those who are just discovering the many-faceted delights of his comic genius.