A variety of different social, natural and technological systems can be described by the same mathematical framework. This holds from the Internet to food webs and to boards of company directors. In all these situations a graph of the elements of the system and their interconnections displays a universal feature. There are only few elements with many connections, and many elements with few connections. This book presents the experimental evidence of these "Scale-free networks" and provides students and researchers with a corpus of theoretical results and algorithms to analyse and understand these features. The content of this book and the exposition makes it a clear textbook for beginners, and a reference book for the experts.

《当代数码艺术》是介绍西方最新数码电影、图像及艺术作品的精选集，兼具批评、理论和历史的色彩。这些文章是高名潞和陈小文从二十世纪九十年代以来出版的多部重要英文数码理论文集中遴选而来。它们最初发表在这一领域最重要的英文出版物上，具有一定的代表性。它们有的侧重某一问题，有的比较宽泛，有的理论性强，甚至偏于自然科学理论，有的则偏重人文历史。读者可以从这些具有多样性的文章中发现一些非常敏锐和颇具前沿性的观点，并得到更多的启发。

《技术哲学经典读本》绘制了当代技术哲学的知识地图，按照“社会一政治批判传统”、“哲学一现象学批判传统”、“工程一分析传统”和“人类学一文化批判传统”四个谱系，选取技术哲学经典名作25篇。置于开头的长篇文字“技术哲学历史概述”，则是一篇全面系统的技术哲学学科导论。

In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

《信息批判》的核心问题是：在一个没有什么时间去反思的年代里，批判理论的未来是什么?面对信息社会中信息的速度和瞬息即逝，信息批判真的有可能吗?《信息批判》前半部分说明全球信息秩序即将取代旧式的国家制造业社会。后半部分，针对无处不在的全球通信流将摧毁批判反思所必需的单独空间这一现象，作者聚焦于批判和批判理论问题，集中讨论“我们当如何重构批判理论以掌握此一信息秩序”。