"As our machines are increasingly jacked into global networks of information, it becomes more and more difficult to imagine the dataspace at our fingertips, to picture all that complexity in our mind's eye . . . Representing all that information is going to require a new visual language, as complex and meaningful as the great metropolitan narratives of the 19th-century novel."—from Interface Culture

In this hip, erudite manifesto, Steven Johnson—one of the most influential people in cyberspace, according to Newsweek bridges the gap that yawns between technology and the arts. Drawing on his own expertise in the humanities and on the Web, he not only demonstrates how interfaces—those buttons, graphics and words on the screen through which we control information—influence our daily lives, but also tracks their roots back to Victorian novels, early cinema and even medieval urban planning. The result is a lush cultural and historical tableau in which today's interfaces take their rightful place in the lineage of artistic innovation.

With Interface Culture, Johnson brilliantly charts the vital role interface design plays in modern society. Just as the great novels of Melville, Dickens and Zola explain a rapidly industralizing society to itself, he argues, web sites, Microsoft Bob, flying toasters and the landscapes of video games tell the digital society how to imagine itself and how to get around in cyberspace's unfamiliar realm.

The role once played by novelists is now fulfilled by the interface designer, who has bridged the gap between technology and everyday life by providing a conceptual framework for the vast amounts of information and computation that surround us.

Johnson boldly explores the past—a terrain few tech thinkers have dared enter, and one that throws dazzling light on the modern interface's roots. From the great cathedrals of the Middle Ages to the rise of perspective drawing in the Renaissance, from Enlightenment satire to the golden age of television, Interface Culture uses a wealth of venerable "interface innovation" to place newfangled creations like Windows 95 and the Web in a rich historical context.

Controversial, clear-sighted and challenging, Interface Culture also looks at the future—from what PC screens will look like in 10 years to how new interfaces will alter the style of our conversation, prose and thoughts. With a distinctively accessible style, Interface Culture brings new intellectual depth to the vital discussion of how technology has transformed society, and is sure to provoke wide debate in both literary and technological circles.

Bestselling author Steven Johnson recounts—in dazzling, multidisciplinary fashion—the story of the brilliant man who embodied the relationship between science, religion, and politics for America’s Founding Fathers.

The Invention of Air is a book of world-changing ideas wrapped around a compelling narrative, a story of genius and violence and friendship in the midst of sweeping historical change that provokes us to recast our understanding of the Founding Fathers.

It is the story of Joseph Priestley—scientist and theologian, protégé of Benjamin Franklin, friend of Thomas Jefferson—an eighteenth-century radical thinker who played pivotal roles in the invention of ecosystem science, the discovery of oxygen, the founding of the Unitarian Church, and the intellectual development of the United States. And it is a story that only Steven Johnson, acclaimed juggler of disciplines and provocative ideas, can do justice to.

In the 1780s, Priestley had established himself in his native England as a brilliant scientist, a prominent minister, and an outspoken advocate of the American Revolution, who had sustained long correspondences with Franklin, Jefferson, and John Adams. Ultimately, his radicalism made his life politically uncomfortable, and he fled to the nascent United States. Here, he was able to build conceptual bridges linking the scientific, political, and religious impulses that governed his life. And through his close relationships with the Founding Fathers—Jefferson credited Priestley as the man who prevented him from abandoning Christianity—he exerted profound if little-known influence on the shape and course of our history.

As in his last bestselling work, The Ghost Map, Steven Johnson here uses a dramatic historical story to explore themes that have long engaged him: innovation and the way new ideas emerge and spread, and the environments that foster these breakthroughs. And as he did in Everything Bad Is Good for You, Johnson upsets some fundamental assumptions about the world we live in—namely, what it means when we invoke the Founding Fathers—and replaces them with a clear-eyed, eloquent assessment of where we stand today.

One of our most innovative, popular thinkers takes on-in exhilarating style-one of our key questions: Where do good ideas come from?

With Where Good Ideas Come From, Steven Johnson pairs the insight of his bestselling Everything Bad Is Good for You and the dazzling erudition of The Ghost Map and The Invention of Air to address an urgent and universal question: What sparks the flash of brilliance? How does groundbreaking innovation happen? Answering in his infectious, culturally omnivorous style, using his fluency in fields from neurobiology to popular culture, Johnson provides the complete, exciting, and encouraging story of how we generate the ideas that push our careers, our lives, our society, and our culture forward.

Beginning with Charles Darwin's first encounter with the teeming ecosystem of the coral reef and drawing connections to the intellectual hyperproductivity of modern megacities and to the instant success of YouTube, Johnson shows us that the question we need to ask is, What kind of environment fosters the development of good ideas? His answers are never less than revelatory, convincing, and inspiring as Johnson identifies the seven key principles to the genesis of such ideas, and traces them across time and disciplines.

Most exhilarating is Johnson's conclusion that with today's tools and environment, radical innovation is extraordinarily accessible to those who know how to cultivate it. Where Good Ideas Come From is essential reading for anyone who wants to know how to come up with tomorrow's great ideas.

A tour of cutting-edge brain research reevaluates the essence of human personality, explaining how the brain predicts and processes events, citing the sources of creativity and ideas, and offering insight into neurochemistry.

A modern classic. Tufte teaches the fundamentals of graphics, charts, maps and tables. "A visual Strunk and White" (The Boston Globe). Includes 250 delightfullly entertaining illustrations, all beautifully printed.

This book celebrates escapes from the flatlands of both paper and computer screen, showing superb displays of high-dimensional complex data. The most design-oriented of Edward Tufte's books, Envisioning Information shows maps, charts, scientific presentations, diagrams, computer interfaces, statistical graphics and tables, stereo photographs, guidebooks, courtroom exhibits, timetables, use of color, a pop-up, and many other wonderful displays of information. The book provides practical advice about how to explain complex material by visual means, with extraordinary examples to illustrate the fundamental principles of information displays. Topics include escaping flatland, color and information, micro/macro designs, layering and separation, small multiples, and narratives. Winner of 17 awards for design and content. 400 illustrations with exquisite 6- to 12-color printing throughout. Highest quality design and production.

Describes design strategies - the proper arrangement in space and time of images, words, and numbers - for presenting information about motion, process, mechanism, cause, and effect. Examines the logic of depicting quantitative evidence.

Science and art have in common intense seeing, the wide-eyed observing that generates visual information. Beautiful Evidence is about how seeing turns into showing, how data and evidence turn into explanation. The book identifies excellent and effective methods for showing nearly every kind of information, suggests many new designs (including sparklines), and provides analytical tools for assessing the credibility of evidence presentations (which are seen from both sides: how to produce and how to consume presentations). For alert consumers of presentations, there are chapters on diagnosing evidence corruption and PowerPoint pitches. Beautiful Evidence concludes with 2 chapters that leave the world of pixel and paper flatland representations - and move onto seeing and thinking in space land, the real-land of three-space and time.

The Architecture Handbook: A Student Guide to Understanding Buildings

Why Architecture Matters is not a work of architectural history or a guide to the styles or an architectural dictionary, though it contains elements of all three. The purpose of Why Architecture Matters is to “come to grips with how things feel to us when we stand before them, with how architecture affects us emotionally as well as intellectually”—with its impact on our lives. “Architecture begins to matter,” writes Paul Goldberger, “when it brings delight and sadness and perplexity and awe along with a roof over our heads.” He shows us how that works in examples ranging from a small Cape Cod cottage to the “vast, flowing” Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the highly sculptural Guggenheim Bilbao and the Church of Sant’Ivo in Rome, where “simple geometries . . . create a work of architecture that embraces the deepest complexities of human imagination.”

Based on decades of looking at buildings and thinking about how we experience them, the distinguished critic raises our awareness of fundamental things like proportion, scale, space, texture, materials, shapes, light, and memory. Upon completing this remarkable architectural journey, readers will enjoy a wonderfully rewarding new way of seeing and experiencing every aspect of the built world.

For more than a decade, Pulitzer Prize-winning Chicago Tribune architecture critic Blair Kamin has been writing fiery, intelligent essays on the state of contemporary architecture. His subjects range from high-rises to highways, parks to public housing, Frank Lloyd Wright to Frank Gehry. Why Architecture Matters collects the best of Kamin's acclaimed columns, offering both a look at America's foremost architectural city and a taste of Kamin's penetrating, witty style of critique.

Since the inception of GSA's art program more than three hundred and fifty works of art have been installed. This book showcases twenty-seven of these commissions. All from the past decade, these works provide a window into the important cultural and civic discourses between the American people and their government. These artworks also affirm, through their creative and aesthetic expressions, that our democratic society is something to cherish and celebrate. Selected from across the nation, these commissions highlight the talents and diversity of America's artists and the wide spectrum of aesthetic, conceptual, and theoretical inquiry they are exploring.

The rebuilding of the Globe theater (1599-1613) on London's Bankside, a few yards from the site of the playhouse in which many of Shakespeare's plays were first performed, must rank as one of the most imaginative enterprises of recent decades. The realization of the vision of Sam Wanamaker and his architect Theo Crosby, it has aroused intense interest among scholars and the general public worldwide. In anticipation of the official opening and the first performance season, visitors have been drawn in large numbers to the auditorium and exhibition. Shakespeare's Globe Rebuilt offers a fully-illustrated account of the research that has gone into the Globe reconstruction, drawing on the work of leading scholars, theater people and craftsmen to provide an authoritative view of the twenty years of research and the hundreds of practical decisions entailed. Documents of the period, both visual and written, have been explored anew; the techniques of timber-framed building have been relearned; the archaeology of the Globe and the neighboring Rose playhouse has been further evaluated; the decorative practices of Elizabethan craftsmen have been researched; and all this reconciled with the requirements of the actors and the practical and legal restrictions of modern architectural design. The result is a book that will fascinate scholarly readers and laymen alike.

Our special today is a tasty treat called May I Take Your Order? Brimming with classic restaurant menus from the roaring '20s through the fabulous '50s, May I Take Your Order? is the first book to feature this hot new collectible and design resource with hundreds of color reproductions. Author Jim Heimann showcases 250 original menus from all kinds of restaurants, including roadside diners à la Route 66, theme restaurants (travel, Western-style, celebrity eateries), five-star restaurants, nightclubs, bars, and cafés. With menus and vintage photographs from some of the greatest dining establishments of the era, this survey of a popular artform offers an uncommon perspective on design in the early half of the century — as well as a glimpse of prices and culinary preferences of yesteryear. From the elegance of Art Nouveau to playful Art Deco designs to the ultra-modernism of the late Ô50s, this is an exciting new y'nd for artists, designers, and restaurateurs looking for ideas and inspiration.