Il rosso e il nero, la vittoria e la sconfitta, la gloria e l'oblio. Sono le regole del gioco, non ci si sottrae. Vanno imparate a memoria, tatuate sul corpo, scandite con regolarita'; come un diagramma per misurare la resistenza di corpi plasmati alla lotta. Con avversari come compagni di strada, in un confronto leale e solenne tra colori e simboli. Cercare l'equilibrio tra il rosso e il nero; un continuo giocare col fuoco, l'unica condizione per essere il Club piu' titolato al mondo.

Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.

As media environments and communication practices evolve over time, so do theoretical concepts. This book analyzes some of the most well-known and fiercely discussed concepts of the digital age from a historical perspective, showing how many of them have pre-digital roots and how they have changed and still are constantly changing in the digital era. Written by leading authors in media and communication studies, the chapters historicize 16 concepts that have become central in the digital media literature, focusing on three main areas. The first part, Technologies and Connections, historicises concepts like network, media convergence, multimedia, interactivity and artificial intelligence. The second one is related to Agency and Politics and explores global governance, datafication, fake news, echo chambers, digital media activism. The last one, Users and Practices, is finally devoted to telepresence, digital loneliness, amateurism, user generated content, fandom and authenticity. The book aims to shed light on how concepts emerge and are co-shaped, circulated, used and reappropriated in different contexts. It argues for the need for a conceptual media and communication history that will reveal new developments without concealing continuities and it demonstrates how the analogue/digital dichotomy is often a misleading one.

This is the story of the work of the original NASA space pioneers; men and women who were suddenly organized in 1958 from the then National Advisory Committee on Aeronautics (NACA) into the Space Task Group. A relatively small group, they developed the initial mission concept plans and procedures for the U. S. space program. Then they boldly built hardware and facilities to accomplish those missions. The group existed only three years before they were transferred to the Manned Spacecraft Center in Houston, Texas, in 1962, but their organization left a large mark on what would follow.Von Ehrenfried's personal experience with the STG at Langley uniquely positions him to describe the way the group was structured and how it reacted to the new demands of a post-Sputnik era. He artfully analyzes how the growing space program was managed and what techniques enabled it to develop so quickly from an operations perspective. The result is a fascinating window into history, amply backed up by first person documentation and interviews.

What can and can't be copied is a matter of law, but also of aesthetics, culture, and economics. The act of copying, and the creation and transaction of rights relating to it, evokes fundamental notions of communication and censorship, of authorship and ownership - of privilege and property. This volume conceives a new history of copyright law that has its roots in a wide range of norms and practices. The essays reach back to the very material world of craftsmanship and mechanical inventions of Renaissance Italy where, in 1469, the German master printer Johannes of Speyer obtained a five-year exclusive privilege to print in Venice and its dominions. Along the intellectual journey that follows, we encounter John Milton who, in his 1644 Areopagitica speech 'For the Liberty of Unlicensed Printing', accuses the English parliament of having been deceived by the 'fraud of some old patentees and monopolizers in the trade of bookselling' (i.e. the London Stationers' Company). Later revisionary essays investigate the regulation of the printing press in the North American colonies as a provincial and somewhat crude version of European precedents, and how, in the revolutionary France of 1789, the subtle balance that the royal decrees had established between the interests of the author, the bookseller, and the public, was shattered by the abolition of the privilege system. Contributions also address the specific evolution of rights associated with the visual and performing arts. These essays provide essential reading for anybody interested in copyright, intellectual history and current public policy choices in intellectual property. The volume is a companion to the digital archive Primary Sources on Copyright (1450-1900), funded by the UK Arts and Humanities Research Council (AHRC): www.copyrighthistory.org.

A new study of the link between three key obsessions of the 20th century: the media, sport and popular culture.

Skilful and aggressive, Gerrard has a knack of scoring spectacular goals for club and country. A boyhood Liverpool fan, growing up on Merseyside, Gerrard is living the dream of playing for his team. Having emerged through the club's youth academy he made his debut for the Reds in November 1998 at the age of eighteen. Now captain of Liverpool FC, Gerrard has led his team to glory in both the European Cup and FA Cup. A key player for England, he will always be remembered for his goal in the famous World Cup qualifying game against Germany in September 2001. This is unique insight into a man who remains one of Europe's top talents.