How do objects that are worth little to nothing become valuable? Who is behind the creation of value, and which types of people find value and comfort in transient, durable, and rubbish objects? When his highly influential Rubbish Theory, first published in 1979, Michael Thompson launched the discipline of waste studies. It remains the most comprehensive analysis on the culture of waste to date. Thompson argues that there are two mutually exclusive cultural categories that are socially imposed on the world of objects: a transient category and a durable category. However, he identifies a region of flexibility, wherein a transient object that declines in value and life span can linger in a valueless and timeless limbo of rubbish, until it is discovered by a creative individual and transferred into something deemed durable. He links stability and change on one hand, with materiality on the other, providing a rich analysis of social and cultural dynamics. His instrumental theory of rubbish draws on case studies and anthropological fieldwork to highlight the ever-changing subtleties of object value and our complex relationship to waste. Bringing Rubbish Theory back into print, this updated edition includes a new introduction, preface, foreword, and afterword, thoroughly exploring how Thompson's key theories have affected our world in the four decades since it was first published and placing it in a contemporary context that shines light on the continued relevance of the book today

New edition of this classic work which asks: How do objects that are of little worth or worth nothing become valuable?

"Visible Signs" explains semiotic terms and theories in relation to visual communication, with illustrative examples taken from contemporary art and design. This edition features new and revised content and includes 200 visuals created to illustrate the ideas discussed within the book.

Waste is a key category for understanding cultural value. It is not just the 'bad stuff' we dispose of; it is material we constantly struggle to redeem. Cultures seem to spend as much energy reclassifying negativity as they do on establishing the negative itself. The huge tertiary sector devoted to waste management converts garbage into money, while ecological movements continue to stress human values and 'the natural.' But the problems waste poses are never simply economic or environmental. The international contributors to this collection ask us to pause and consider the complex ways in which value is created and destroyed. Their diverse approaches of ethics, philosophy, cultural studies, and politics are at the forefront of a new field of 'ecohumanites.'

This is a study of the material life of information and its devices; of electronic waste in its physical and electronic incarnations; a cultural and material mapping of the spaces where electronics in the form of both hardware and information accumulate, break down, or are stowed away. Where other studies have addressed "digital" technology through a focus on its immateriality or virtual qualities, Gabrys traces the material, spatial, cultural and political infrastructures that enable the emergence and dissolution of these technologies. In the course of her book, she explores five interrelated "spaces" where electronics fall apart: from Silicon Valley to Nasdaq, from containers bound for China to museums and archives that preserve obsolete electronics as cultural artifacts, to the landfill as material repository. Digital Rubbish: A Natural History of Electronics describes the materiality of electronics from a unique perspective, examining the multiple forms of waste that electronics create as evidence of the resources, labor, and imaginaries that are bundled into these machines. Ranging across studies of media and technology, as well as environments, geography, and design, Jennifer Gabrys draws together the far-reaching material and cultural processes that enable the making and breaking of these technologies.

Polemics and reflections on how to bridge the gap between what architecture actually is and what architects want it to be. Architecture depends—on what? On people, time, politics, ethics, mess: the real world. Architecture, Jeremy Till argues with conviction in this engaging, sometimes pugnacious book, cannot help itself; it is dependent for its very existence on things outside itself. Despite the claims of autonomy, purity, and control that architects like to make about their practice, architecture is buffeted by uncertainty and contingency. Circumstances invariably intervene to upset the architect's best-laid plans—at every stage in the process, from design through construction to occupancy. Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection. With Architecture Depends, architect and critic Jeremy Till offers a proposal for rescuing architects from themselves: a way to bridge the gap between what architecture actually is and what architects want it to be. Mixing anecdote, design, social theory, and personal experience, Till's writing is always accessible, moving freely between high and low registers, much like his suggestions for architecture itself.

A vital and timely reminder that modern life owes as much to outlandish thinking as to dominant ideologies What do the Nag Hammadi library, Dan Brown’s The Da Vinci Code, speculative feminist historiography, Marcus Garvey’s finances, and maps drawn by asylum patients have in common? Jonathan P. Eburne explores this question as never before in Outsider Theory, a timely book about outlandish ideas. Eburne brings readers on an adventure in intellectual history that stresses the urgency of taking seriously—especially in an era of fake news—ideas that might otherwise be discarded or regarded as errant, unfashionable, or even unreasonable. Examining the role of such thinking in contemporary intellectual history, Eburne challenges the categorical demarcation of good ideas from flawed, wild, or bad ones, addressing the surprising extent to which speculative inquiry extends beyond the work of professional intellectuals to include that of nonprofessionals as well, whether amateurs, unfashionable observers, or the clinically insane. Considering the work of a variety of such figures—from popular occult writers and gnostics to so-called outsider artists and pseudoscientists—Eburne argues that an understanding of its circulation and recirculation is indispensable to the history of ideas. He devotes close attention to ideas and texts usually omitted from or marginalized within orthodox histories of literary modernism, critical theory, and continental philosophy, yet which have long garnered the critical attention of specialists in religion, science studies, critical race theory, and the history of the occult. In doing so he not only sheds new light on a fascinating body of creative thought but also proposes new approaches for situating contemporary humanities scholarship within the history of ideas. However important it might be to protect ourselves from “bad” ideas, Outsider Theory shows how crucial it is for us to know how and why such ideas have left their impression on modern-day thinking and continue to shape its evolution.