A disturbingly cautionary tale, Is Anyone Responsible? anchors with powerful evidence suspicions about the way in which television has impoverished political discourse in the United States and at the same time molds American political consciousness. It is essential reading for media critics, psychologists, political analysts, and all the citizens who want to be sure that their political opinions are their own. "Not only does it provide convincing evidence for particular effects of media fragmentation, but it also explores some of the specific mechanisms by which television works its damage. . . . Here is powerful additional evidence for those of us who like to flay television for its contributions to the trivialization of public discourse and the erosion of democratic accountability."—William A. Gamson, Contemporary Sociology "Iyengar's book has substantial merit. . . . [His] experimental methods offer a precision of measurement that media effects research seldom attains. I believe, moreover, that Iyengar's notion of framing effects is one of the truly important theoretical concepts to appear in recent years."—Thomas E. Patterson, American Political Science Review

A disturbingly cautionary tale, Is Anyone Responsible? anchors with powerful evidence suspicions about the way in which television has impoverished political discourse in the United States and at the same time molds American political consciousness. It is essential reading for media critics, psychologists, political analysts, and all the citizens who want to be sure that their political opinions are their own. "Not only does it provide convincing evidence for particular effects of media fragmentation, but it also explores some of the specific mechanisms by which television works its damage. . . . Here is powerful additional evidence for those of us who like to flay television for its contributions to the trivialization of public discourse and the erosion of democratic accountability."—William A. Gamson, Contemporary Sociology "Iyengar's book has substantial merit. . . . [His] experimental methods offer a precision of measurement that media effects research seldom attains. I believe, moreover, that Iyengar's notion of framing effects is one of the truly important theoretical concepts to appear in recent years."—Thomas E. Patterson, American Political Science Review

Citizens are important, Mathews argues, because they have important work to do - work that goes beyond voting. The public has to define its own interest and make difficult choices about purpose in order to give direction to government and lay the foundations for common action. In order for citizens to make those choices wisely, Mathews advocates reviving the town meeting tradition and adding more deliberative dialogue to what is usually partisan debate. As Mathews explains when Americans create new civic associations, organize forums, and change the political dialogue, they are building the common ground and civic infrastructure necessary to solve problems. In this expanded notion of politics, "The public and its citizens are not peripheral, they are central."

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.

In this long-awaited book, Antony Duff offers a new perspective on the structures of criminal law and criminal liability. His starting point is a distinction between responsibility (understood as answerability) and liability, and a conception of responsibility as relational and practice-based. This focus on responsibility, as a matter of being answerable to those who have the standing to call one to account, throws new light on a range of questions in criminal law theory: on the question of criminalisation, which can now be cast as the question of what we should have to answer for, and to whom, under the threat of criminal conviction and punishment; on questions about the criminal trial, as a process through which defendants are called to answer, and about the conditions (bars to trial) given which a trial would be illegitimate; on questions about the structure of offences, the distinction between offences and defences, and the phenomena of strict liability and strict responsibility; and on questions about the structures of criminal defences. The net result is not a theory of criminal law; but it is an account of the structure of criminal law as an institution through which a liberal polity defines a realm of public wrongdoing, and calls those who perpetrate (or are accused of perpetrating) such wrongs to account.

Photo opportunities, ten-second sound bites, talking heads and celebrity anchors: so the world is explained daily to millions of Americans. The result, according to the experts, is an ignorant public, helpless targets of a one-way flow of carefully filtered and orchestrated communication. Common Knowledge shatters this pervasive myth. Reporting on a ground-breaking study, the authors reveal that our shared knowledge and evolving political beliefs are determined largely by how we actively reinterpret the images, fragments, and signals we find in the mass media. For their study, the authors analyzed coverage of 150 television and newspaper stories on five prominent issues—drugs, AIDS, South African apartheid, the Strategic Defense Initiative, and the stock market crash of October 1987. They tested audience responses of more than 1,600 people, and conducted in-depth interviews with a select sample. What emerges is a surprisingly complex picture of people actively and critically interpreting the news, making sense of even the most abstract issues in terms of their own lives, and finding political meaning in a sophisticated interplay of message, medium, and firsthand experience. At every turn, Common Knowledge refutes conventional wisdom. It shows that television is far more effective at raising the saliency of issues and promoting learning than is generally assumed; it also undermines the assumed causal connection between newspaper reading and higher levels of political knowledge. Finally, this book gives a deeply responsible and thoroughly fascinating account of how the news is conveyed to us, and how we in turn convey it to others, making meaning of at once so much and so little. For anyone who makes the news—or tries to make anything of it—Common Knowledge promises uncommon wisdom.

All you need to know to successfully manage fire safety in accordance with the Fire Safety Order.