《当我们变成一堆数字》讲述了：每一天，我们的身后都拖着一条由个人信息组成的长长的“尾巴”，这只是因为我们生活在一个现代化的世界。我们——点击网页、 切换电视频道、驾车穿过自动收费站、 用信用卡购物、使用手机， 而雅虎、Google这样的公司，正在以平均每人、每月2500条信息的速度，捕获我们的详细数据。是谁在关注这些数据？他们打算用这些数据来干吗？这正是美国《新闻周刊》资深记者斯蒂芬·贝克在这本极具魅惑力的书里所探究的问题，而他的回答既让人惊讶，又令人不安。一群新兴的数学精英，正千方百计地以惊人的准确性，剖析我们的每个举动，预测我们的行动计划。他们神不知鬼不觉地，将我们买了什么、对什么感兴趣、与谁坠入爱河的人间风光尽收眼底，就是为了巧妙地操控我们的行为。在这本汇聚数字报告和分析的力作里，斯蒂芬·贝克展示了一个我们正在进入的鲜活的世界，告诉我们谁在支配人类。数字科学家渗透了人世间的每个领域，将我们描绘为工薪族、购物者、选民、博主、潜藏的恐怖分子、病患者，甚至是恋人。他们在公司洞察我们的电子邮件和电话记录，来推测有多少员工真正在为公司的盈利添砖加瓦。他们分析我们的购买行为，以搞清我们是在节衣缩食、瘦身，还是有新的理财计划。从IBM、Google、保险公司到奥巴马竞选团队，莫不重金礼聘身怀绝技的“数字搜客”，从一大堆数字符码中过滤出宝贵的趋势和观点……。

The eagerly awaited new book from the Emmy-winning, Oscar-hosting, Daily Show- anchoring Jon Stewart--the man behind the megaseller America (The Book) .

Where do we come from? Who created us? Why are we here? These questions have puzzled us since the dawn of time, but when it became apparent to Jon Stewart and the writers of The Daily Show that the world was about to end, they embarked on a massive mission to write a book that summed up the human race: What we looked like; what we accomplished; our achievements in society, government, religion, science and culture -- all in a tome of approximately 256 pages with lots of color photos, graphs and charts.

After two weeks of hard work, they had their book. Earth (The Book) is the definitive guide to our species. With their trademark wit, irreverence, and intelligence, Stewart and his team will posthumously answer all of life's most hard-hitting questions, completely unburdened by objectivity, journalistic integrity, or even accuracy.

This major new book provides a concise history of optical media from Renaissance linear perspective to late twentieth-century computer graphics. Kittler begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organized. He also discusses the development of various mechanical devices, such as the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counter-Reformation. After examining this history, Kittler then addresses the ways in which images were first stored and made to move, through the development of photography and film. He discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or "picture-frame" stage evolved from elements that would later constitute cinema. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations. In short, this book provides a comprehensive introduction to the history of image production that is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.

This is a highly original book about the connections between historical moment, social structure, technology, communication systems, and what is said and thought using these systems - notably literature. The author focuses on the differences between 'discourse networks' in 1800 and in 1900, in the process developing a new analysis of the shift from romanticism to modernism. The work might be classified as a German equivalent to the New Historicism that is currently of great interest among American literary scholars, both in the intellectual influences to which Kittler responds and in his concern to ground literature in the most concrete details of historical reality. The artful structure of the book begins with Goethe's Faust and ends with Valery's Faust. In the 1800 section, the author discusses how language was learned, the emergence of the modern university, the associated beginning of the interpretation of contemporary literature, and the canonization of literature. Among the writers and works Kittler analyzes in addition to Goethe's Faust are Schlegel, Hegel, E. T. A. Hoffman's 'The Golden Pot', and Goethe's Tasso.

Amazon.co.uk Review
In the post-war period, the CIA funded not just the right-wing bits of European intellectual life but also the centre, in order to detach intellectuals from the Left, and this book tells us how. It is touching on the career of Michael Josselson, the principal intellectual bagman who in 1950 became the Congress' Administrative Secretary, and his eventual betrayal by various people like Stephen Spender who scapegoated him. Sanders demonstrates that, in the early days, the Office of Strategic Services (OSS) and the emergent CIA were less dominated by the far right than they later became, and that the idea of helping out progressive moderates--rather than being Machiavellian--actually appealed to the men at the top.
Many intellectuals were still drawn to Stalin's Russia. Saunders superbly traces the crisis of conscience that McCarthyism and its associated bookburning in US libraries caused, and the subsequent rise of more moderate ideals. Saunders does not discuss the way the cult of Kennedy grows out of the same soil as a lot of this stuff--he was an excuse to love America after all. This is an exhaustive account, which, despite neglecting some important side issues, is an essential book. --Roz Kaveney --This text refers to an out of print or unavailable edition of this title.
Synopsis
During the Cold War, writers and artists were faced with a huge challenge. In the Soviet world, they were expected to turn out works that glorified militancy, struggle and relentless optimism. In the West, freedom of expression was vaunted as liberal democracy's most cherished possession. But such freedom could carry a cost. This book documents the extraordinary energy of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were instruments - whether they knew it or not, whether they liked it or not - of America's secret service.