丹尼丝·施曼特—贝瑟拉（1933—?），法裔美籍学者，主要从事文字与计数起源、口述社会信息管理系统的特征等方面的研究。1992年，得克萨斯大学出版社出版了两卷书：《文字之前 卷一：从计数到陶筹》和《文字之前 卷二：近东陶筹目录》，本书是这两卷书的精华编。作者以伊朗、伊拉克、雷凡特和土耳其等地116处遗址的8000多个陶筹或计数器的标本为基础，条分缕析，由此记录下了楔形文字系统的直系前身，并令人信服地得出了“由陶筹而文字”的文字起源新论，明确提出：世界上最早的楔形文字起源于计数用的陶筹。这一观点被一些学者认为是迄今为止最能自圆其说的有关文字起源的新理论，具有划时代的意义。

Current theories and views on the differences in the 'mind' of human societies depend very much on a dichotomy between 'advanced' and 'primitive', or between 'open' and 'closed', or between 'domesticated' and 'savage', that is to say, between one of a whole variety of 'we-they' distinctions. Professor Goody argues that such an approach prevents any serious discussion of the mechanisms leading to long-term changes in the cognitive processes of human cultures or any adequate explanation of the changes in 'traditional' societies that are taking place in the world around us. In this book he attempts to provide the framework for a more satisfactory explanation by relating certain broad differences in 'mentalities' to the changes in the means of communication, and specifically to the series of shifts involved in the development of writing. The argument is based upon theoretical considerations, as well as empirical evidence derived from recent fieldwork in West Africa and the study of a wide range of source material on the ancient societies of the Near East.

A concise yet wide-ranging survey of the invention and evolution of writing. The invention of writing marked the real beginning of civilization as we know it. Without writing, scholarship, religion, philosophy--and indeed, knowledge of every kind--would be rudimentary, for all these things depend on the traditions of communicable intelligence that only writing really secures. As a conscious and systematic activity, writing began in the fourth millennium B.C., its first known manifestation being cuneiform in Mesopotamia; its second, the Egyptian hieroglyphs. Each represents an immense step forward in human intellectual development. Later, and still more dramatically, comes the first alphabetic script, which originated in Phoenicia and from which all the known alphabetic scripts used today are derived.--Adapted from jacket.

Plato's frontal attack on poetry has always been a problem for sympathetic students, who have often minimized or avoided it. Beginning with the premise that the attack must be taken seriously, Mr. Havelock shows that Plato's hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought. The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction--Mr. Havelock shows how the Illiad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative. The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.

This classic work explores the vast differences between oral and literate cultures and offers a brilliantly lucid account of the intellectual, literary and social effects of writing, print and electronic technology.

Eisenstein's best-known work is The Printing Press as an Agent of Change, a two-volume, 750-page exploration of the effects of movable type printing on the literate elite of post-Gutenberg Western Europe. In this work she focuses on the printing press's functions of dissemination, standardization, and preservation and the way these functions aided the progress of the Protestant Reformation, the Renaissance, and the Scientific Revolution. Eisenstein's work brought historical method, rigor, and clarity to earlier ideas of Marshall McLuhan and others, about the general social effects of such media transitions.
This work provoked debate in the academic community from the moment it was published[4] and is still inspiring conversation and new research today.[5] Her work also influenced later thinking about the subsequent development of digital media. Her work on the transition from manuscript to print influenced thought about new transitions of print text to digital formats, including multimedia and new ideas about the definition of text.[6]

The Educated Mind offers a bold and revitalizing new vision for today's uncertain educational system. Kieran Egan reconceives education, taking into account how we learn. He proposes the use of particular "intellectual tools"—such as language or literacy—that shape how we make sense of the world. These mediating tools generate successive kinds of understanding: somatic, mythic, romantic, philosophical, and ironic. Egan's account concludes with practical proposals for how teaching and curriculum can be changed to reflect the way children learn.

"A carefully argued and readable book. . . . Egan proposes a radical change of approach for the whole process of education. . . . There is much in this book to interest and excite those who discuss, research or deliver education."—Ann Fullick, New Scientist

"A compelling vision for today's uncertain educational system."—Library Journal

"Almost anyone involved at any level or in any part of the education system will find this a fascinating book to read."—Dr. Richard Fox, British Journal of Educational Psychology

"A fascinating and provocative study of cultural and linguistic history, and of how various kinds of understanding that can be distinguished in that history are recapitulated in the developing minds of children."—Jonty Driver, New York Times Book Review

The celebrated design professor here tackles the question of how best to communicate real-life experience in a two-degree format, whether on the printed page or the computer screen. The Whole Earth Review called
a "passionate, elegant revelation."

内容简介：系统的介绍了漫画的发展沿革、艺术语言、表现手法，是一本向大众普及漫画艺术的入门作品——它用简单的画面告诉人们，漫画不是宅男的读物，而是一种拥有强烈表现力的艺术形式。

Shop Class as Soulcraft brings alive an experience that was once quite ordinary, but now seems to be receding over the cultural horizon—the experience of making and fixing things. Working with your hands, as Mathew B. Crawford describes it, connects us to the world around us. Those of us who sit in an office often have intuitions of something gone amiss, a sense of unreality accompanied by feelings of impotence. What, after all, do we do all day? In this wholly original debut, Crawford offers a brief for self-reliance and a sustained reflection on this problem: how to live concretely in an ever more abstract world. Shop Class as Soulcraft seeks to restore the honor of the manual trades as a life worth choosing for anyone who felt hustled off to college, then to the cubicle, against their own inclinations and natural bents. On both economic and psychological grounds, Crawford questions the educational imperative of turning everyone into a “knowledge worker.” This imperative, he explains, is based on a misguided separation of thinking from doing, the work of the hand from that of the mind. Crawford shows in precise detail how such a partition, which began a century ago with the assembly line, degrades work for those on both sides of the divide.
But he offers good news as well: The manual trades are very different from factory work. They require a lot of thinking and may even give rise to moments of genuine pleasure. Based on his own experience as an electrician and mechanic, Crawford makes a case for the intrinsic satisfactions and cognitive challenges— the soulcraft—of manual work. The work of builders and mechanics cannot be outsourced. They tie us to the local communities in which we live and instill the pride that comes from doing work that is genuinely useful.
Speaking squarely to a culture that continues to grapple for a way to reconcile work and life and to find fulfilling work of all stripes, Shop Class as Soulcraft offers inspired social criticism and deep personal exploration. It will change your understanding of the value of work and the work of bringing value and meaning to your life, whatever you do now or hope to do one day.

"A startling argument . . . provocative . . . absorbing." --The Boston Globe

"Ambitious . . . arresting . . . celebrates the importance of hands to our lives today as well as to the history of our species."
--The New York Times Book Review

The human hand is a miracle of biomechanics, one of the most remarkable adaptations in the history of evolution. The hands of a concert pianist can elicit glorious sound and stir emotion; those of a surgeon can perform the most delicate operations; those of a rock climber allow him to scale a vertical mountain wall. Neurologist Frank R. Wilson makes the striking claim that it is because of the unique structure of the hand and its evolution in cooperation with the brain that Homo sapiens became the most intelligent, preeminent animal on the earth.
        In this fascinating book, Wilson moves from a discussion of the hand's evolution--and how its intimate communication with the brain affects such areas as neurology, psychology, and  linguistics--to provocative new ideas about human creativity and how best to nurture it. Like Oliver Sacks and Stephen Jay Gould, Wilson handles a daunting range of scientific knowledge with a surprising deftness and a profound curiosity about human possibility. Provocative, illuminating, and delightful to read, The Hand encourages us to think in new ways about one of our most taken-for-granted assets.

"A mark of the book's excellence [is that] it makes the reader aware of the wonder in trivial, everyday acts, and reveals the complexity behind the simplest manipulation." --The Washington Post

You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction.
After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language.
At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people.
At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment.
"Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.

After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are not publishing a major statement in the form of three works which will, in their words, "lay the basis for an entirely new approach to architecture, building, and planning, which will, we hope, replace existing ideas and practices entirely." The three books are The Timeless Way of Building, A Pattern Language, and The Oregon Experiment.
At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation fo the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people.
This book is the master plan for the University of Oregon, and is now being implemented at that university; but it shows at the same time how any community the size of a university or small town might go about designing its own future environment-with all members of the community participating personally. It is a concrete example at the Center's theories in practice, showing in simple detail, with numerous illustrations, how to implement six guiding principles: organic order, participation, piecemeal growth, patterns, diagnosis, and coordination.

Buildings have often been studied whole in space, but never before have they been studied whole in time. How Buildings Learn is a masterful new synthesis that proposes that buildings adapt best when constantly refined and reshaped by their occupants, and that architects can mature from being artists of space to becoming artists of time. From the connected farmhouses of New England to I.M. Pei's Media Lab, from "satisficing" to "form follows funding," from the evolution of bungalows to the invention of Santa Fe Style, from Low Road military surplus buildings to a High Road English classic like Chatsworth—this is a far-ranging survey of unexplored essential territory.

More than any other human artifacts, buildings improve with time—if they're allowed to. How Buildings Learn shows how to work with time rather than against it.

How do we reclaim our innate enchantment with the world? And how can we turn our natural curiosity into a deep, abiding love for knowledge? Frank Oppenheimer, the younger brother of the physicist J. Robert Oppenheimer, was captivated by these questions, and used his own intellectual inquisitiveness to found the Exploratorium, a powerfully influential museum of human awareness in San Francisco, that encourages play, creativity, and discovery—all in the name of understanding. In this elegant biography, K. C. Cole investigates the man behind the museum with sharp insight and deep sympathy. The Oppenheimers were a family with great wealth and education, and Frank, like his older brother, pursued a career in physics. But while Robert was unceasingly ambitious, and eventually came to be known for his work on the atomic bomb, Frank’s path as a scientist was much less conventional. His brief fling with the Communist Party cost him his position at the University of Minnesota, and he subsequently spent a decade ranching in Colorado before returning to teaching. Once back in the lab, however, Frank found himself moved to create something to make the world meaningful after the bombing of Hiroshima and Nagasaki. He was inspired by European science museums, and he developed a dream of teaching Americans about science through participatory museums. Thus was born the magical world of the Exploratorium, forever revolutionizing not only the way we experience museums, but also science education for years to come. Cole has brought this charismatic and dynamic figure to life with vibrant prose and rich insight into Oppenheimer as both a scientist and an individual. 

Finalist for Pulitzer Prize for General Nonfiction
Finalist for National Book Critics Circle Award for Nonfiction

Pronged ants, horned humans, a landscape carved on a fruit pit--some of the displays in David Wilson's Museum of Jurassic Technology are hoaxes. But which ones? As he guides readers through an intellectual hall of mirrors, Lawrence Weschler revisits the 16th-century "wonder cabinets" that were the first museums and compels readers to examine the imaginative origins of both art and science.

This reader collects the texts, videos, and computer programs--many of them now almost impossible to find--that chronicle the history and form the foundation of the still-emerging field of new media. General introductions by Janet Murray and Lev Manovich, along with short introductions to each of the texts, place the works in their historical context and explain their significance. The texts were originally published between World War II--when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared--and the emergence of the World Wide Web--when they entered the mainstream of public life.The texts are by computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. The contributors include (chronologically) Jorge Luis Borges, Vannevar Bush, Alan Turing, Ivan Sutherland, William S. Burroughs, Ted Nelson, Italo Calvino, Marshall McLuhan, Billy Kl?Jean Baudrillard, Nicholas Negroponte, Alan Kay, Bill Viola, Sherry Turkle, Richard Stallman, Brenda Laurel, Langdon Winner, Robert Coover, and Tim Berners-Lee. The CD accompanying the book contains examples of early games, digital art, independent literary efforts, software created at universities, and home-computer commercial software. Also on the CD is digitized video, documenting new media programs and artwork for which no operational version exists. One example is a video record of Douglas Engelbart's first presentation of the mouse, word processor, hyperlink, computer-supported cooperative work, video conferencing, and the dividing up of the screen we now call non-overlapping windows; another is documentation of Lynn Hershman's Lorna, the first interactive video art installation.

In 1945, Vannevar Bush, the engineer who designed the world's most powerful analog computers and the official responsible for U.S. scientific research and development during WWII, published an essay in which he predicted the development of a new kind of computing machine he called Memex. Today, computers in millions of offices and homes perform tasks that closely resemble the ideas that Bush proposed. For many people in the fields of computer and information science, Bush's Memex has been the prototype of the personal computer, and the first design for a machine to help people think and manage information. Yet, with all its renown, Memex is largely misunderstood. In From Memex to Hypertext, all of Bush's writings about Memex have been collected for the first time. Surrounding Bush's essays are chapters by historians and leading figures in the computer science research community telling the story of how the idea of Memex was developed and how Bush's writings have influenced today's research agenda in hypertext, multimedia, and artificial intelligence.

This book explores the history of hypertext, an influential concept that forms the underlying structure of the World Wide Web and innumerable software applications. Barnet tells both the human and the technological story by weaving together contemporary literature and her exclusive interviews with those at the forefront of hypertext innovation, tracing its evolutionary roots back to the analogue machine imagined by Vannevar Bush in 1945.