How interventions based on objects—including chemicals, financial products, and consumer goods—offer a path to rethink European integration.

Interventions based on objects, Brice Laurent claims, have become a dominant path for European policy-making. In European Objects, Laurent analyzes the political consequences of these interventions and their democratization. He uses the term “European objects” to describe technical entities that are regulated—and thereby transformed—by European policies. To uncover the bureaucratic and regulatory intricacies of European governance, Laurent focuses on a series of these objects, including food products, chemicals, financial products, consumer goods, drinking water, and occupational environments. Laurent argues that taking European objects seriously offers a way to rephrase the dreams of harmonization and, eventually, rethink the constitutional strength of European integration.

Laurent doesn’t just clarify how European regulation works, but also explores ways to realize long-term objectives for European integration, such as a harmonized market or an objective expertise. Regulation is best understood as “regulatory machinery” bringing together various types of legal constraints, material interventions on objects, and the imagining of desirable futures. Analyzing European objects enables Laurent to explore what regulation has become after years of evolution have made it a central component of the European policy world. He offers practical illustrations of how the regulatory machinery functions today. If Europe succeeds at reinventing the terms of its legitimacy with objects that matter for the European publics, it will provide a telling demonstration that the opposition of expertise and populism is not the unavoidable fate of liberal democracies.

How Brazilian favela residents engage with and appropriate technologies, both to fight the oppression in their lives and to represent themselves in the world.

Brazilian favelas are impoverished settlements usually located on hillsides or the outskirts of a city. In Technology of the Oppressed, David Nemer draws on extensive ethnographic fieldwork to provide a rich account of how favela residents engage with technology in community technology centers and in their everyday lives. Their stories reveal the structural violence of the information age. But they also show how those oppressed by technology don't just reject it, but consciously resist and appropriate it, and how their experiences with digital technologies enable them to navigate both digital and nondigital sources of oppression--and even, at times, to flourish.

Nemer uses a decolonial and intersectional framework called Mundane Technology as an analytical tool to understand how digital technologies can simultaneously be sites of oppression and tools in the fight for freedom. Building on the work of the Brazilian educator and philosopher Paulo Freire, he shows how the favela residents appropriate everyday technologies--technological artifacts (cell phones, Facebook), operations (repair), and spaces (Telecenters and Lan Houses)--and use them to alleviate the oppression in their everyday lives. He also addresses the relationship of misinformation to radicalization and the rise of the new far right. Contrary to the simplistic techno-optimistic belief that technology will save the poor, even with access to technology these marginalized people face numerous sources of oppression, including technological biases, racism, classism, sexism, and censorship. Yet the spirit, love, community, resilience, and resistance of favela residents make possible their pursuit of freedom.

An engaging and accessible introduction to the psychology and neuroscience of physical action.

This engaging and accessible book offers the first introductory text on the psychology and neuroscience of physical action. Written by a leading researcher in the field, it covers the interplay of action, mind, and brain, showing that many core concepts in philosophy, psychology, neuroscience, and technology grew out of questions about the control of everyday physical actions. It explains action not as a “one-way street from stimuli to response” but as a continual perception-action cycle. The informal writing style invites students to think through the evidence step by step, helping them develop general thinking stills as well as learn specific facts. Special emphasis is placed on the role of underrepresented groups.

The book discusses the intellectual background of the field, from Plato to Kant, Dewey, and others; applications and methods; and the physical substrates of action—bones, tendons, ligaments, muscles, and nerves. It considers the control of actions in space; learning, and the roles of nature and nurture; feedback; feedforward, or anticipated feedback; and degrees of freedom—the multiple ways of getting things done and three methods for narrowing the alternatives. The book is generously illustrated, including many images of thinkers who contributed to the field.

A new interpretation of the work of Bramante, suggesting an agenda for contemporary architectural practice

In On Bramante, architect Pier Paolo Tamburelli considers the work of the celebrated Italian Renaissance architect Donato Bramante and through this reappraisal suggests a possible agenda for current architectural practice. Bramante, Tamburelli argues, offers an excellent starting point to imagine a contemporary theory of space, to reflect on the relationship between architecture and politics, and to look back--with neither nostalgia nor contempt--at the tradition of Western classicism.

Starting from a discussion of the difference in the work of Bramante in Milan (1481-1499) and Rome (1499-1514), Tamburelli highlights the peculiarities of Bramante's architecture, especially in comparison to that of his predecessor Leon Battista Alberti and successor Andrea Palladio. This in turn opens up new possibilities for appreciating his spatial experiments, and to derive from Bramante's abstraction and disassociation of form from function a revised theory of space for contemporary architecture. Such a theory might even advance a newfound political understanding of classicism, and a model--perhaps more valid now than ever before--for a public architecture.



The text is bookended by a series of color photographic plates of Bramante's works by photographer Bas Princen.

Through practices of collaborative imagination and making, or doing design otherwise," design experiments can contribute to keeping local democracies vibrant.

In this counterpoint to the grand narratives of design punditry, Carl DiSalvo presents what he calls "doing design otherwise." Arguing that democracy requires constant renewal and care, he shows how designers can supply novel contributions to local democracy by drawing together theory and practice, making and reflection. The relentless pursuit of innovation, uncritical embrace of the new and novel, and treatment of all things as design problems, says DiSalvo, can lead to cultural imperialism. In Design as Democratic Inquiry, he recounts a series of projects that exemplify engaged design in practice. These experiments in practice-based research are grounded in collaborations with communities and institutions.

The projects DiSalvo describes took place from 2014 to 2019 in Atlanta. Rather than presume that government, industry--or academia--should determine the outcome, the designers began with the recognition that the residents and local organizations were already creative and resourceful. DiSalvo uses the projects to show how design might work as a mode of inquiry. Resisting heroic stories of design and innovation, he argues for embracing design as fragile, contingent, partial, and compromised. In particular, he explores how design might be leveraged to facilitate a more diverse civic imagination. A fundamental tenet of design is that the world is made, and therefore it could be made differently. A key concept is that democracy requires constant renewal and care. Thus, designing becomes a way to care, together, for our collective future.

This first book-length analysis of Amazon's Kindle explores the platform's technological, bibliographical, and social impact on publishing.

Four Shades of Gray offers the first book-length analysis of Amazon's Kindle and its impact on publishing. Simon Rowberry recounts how Amazon built the infrastructure for a new generation of digital publications, then considers the consequences of having a single company control the direction of the publishing industry. Exploring the platform from the perspectives of technology, texts, and uses, he shows how the Kindle challenges traditional notions of platforms as discrete entities. He argues that Amazon's influence extends beyond “disruptive technology” to embed itself in all aspects of the publishing trade; yet despite industry pushback, he says, the Kindle has had a positive influence on publishing.

Rowberry documents the first decade of the Kindle with case studies of Kindle Popular Highlights, an account of the digitization of books published after 1922, and a discussion of how Amazon's patent filings reflect a shift in priorities. Rowberry argues that while it was initially convenient for the book trade to outsource ebook development to Amazon, doing so has had adverse consequences for publishers in the mid- and long term, limiting opportunities for developing an inclusive and forward-thinking digital platform. While it has forced publishers to embrace digital forms, the Kindle has also empowered some previously marginalized readerships. Although it is still too early to judge the long-term impact of ebooks compared with that of the older technologies of clay tablets, the printing press, and offset printing, the shockwaves of the Kindle continue to shape publishing.

The first collection of critical writing on the work of experimental filmmaker Hollis Frampton.

Hollis Frampton (1936–1984) was one of the most important experimental filmmakers and theorists of his time, and in his navigation of artistic media and discourses, he anticipated the multimedia boundary blurring of today’s visual culture. Indeed, his photography continues to be exhibited, and a digital edition of his films was issued by the Criterion Collection. This book offers the first collection of critical writings on Frampton’s work. It complements On the Camera Arts and Consecutive Matter , published in the MIT Press’s Writing Art series, which collected Frampton’s own writings.

October was as central to Frampton as he was to it. He was both a frequent contributor—appearing in the first issue in 1976—and a frequent subject of contributions by others. Some of these important and incisive writings on Frampton’s work are reprinted here. The essays collected in this volume consider Frampton’s photographic practice, which continued even after he turned to film; survey his film work from the 1960s to the late 1970s; and explore Frampton’s grounding in poetics and language. Two essays by the late Annette Michelson, one of the twentieth century’s most influential writers on experimental film, place Frampton in relation to film and art history.

Contributors
George Derk, Ken Eisenstein, Hollis Frampton, Peter Gidal, Barry Goldensohn, Brian Henderson, Bruce Jenkins, Annette Michelson, Christopher Phillips, Melissa Ragona, Allen S. Weiss, Federico Windhausen, Lisa Zaher, Michael Zryd

I’m Leslie. I got pregnant my senior year of high school. I lived with my parents until recently. Now, I live next door to them. Now, my son’s father knows he is the father and wants in his life and mine. Only, I still love Cecily, too. Justin has a secret of his own, though and I wasn’t prepared for it. I wasn’t prepared for Cecily to show up at my cousin’s house either, but she did. Now…things are crazy and I just need to…hold on to something, someone.