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In the catalog on those pages you’ll find media.archive sorted alphabetically. For a quick-search you can also use the LibraryThing-form in the sidebar which will give you instant search-results [this data is still being corrected!]. Otherwise you can use the Search-form on this page [in the upper right corner on this page] which will direct you to results which are more in-depth, sildenafil especially for the non-English volumes.

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________________________________________________________________

  1. _Eduardo Kac____Telepresence, order biotelematics, more about transgenic art
  2. _Eduardo Kac____Signs of Life: Bio Art and Beyond
  3. _Douglas Kahn____Noise, Water, Meat: A History of Sound in the Arts
  4. _Douglas Kahn____Wireless Imagination: Sound, Radio, and the Avant-Garde
  5. _Michio Kaku____Hiperprostor
  6. _Peggy Kamuf____Univerzitet u dekonstrukciji
  7. _Maja Kandido-Jakšić____Polnost i politka
  8. _Milan Kangrga____Nacionalizam ili demokracija
  9. _Kojin Karatani____Transcritique : On Kant and Marx
  10. _Kōjin Karatani____Architecture as Metaphor: Language, Number, Money (Writing Architecture)
  11. _Jonathan Ned Katz____Love Stories : Sex between Men before Homosexuality
  12. _John Kauffman/Kevin Spencer/Thearon Willis/John Kauffman____Beginning ASP Databases
  13. _Thomas Keenan____Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics
  14. _Kevin Kelly____New Rules for the New Economy
  15. _David Kennedy____Of War and Law
  16. _Thomas Khurana____Sinn und Gedächtnis
  17. _Christina Kiaer____Imagine No Possessions: The Socialist Objects of Russian Constructivism
  18. _Paul D. Miller aka DJ Spooky that Subliminal Kid____Sound Unbound: Sampling Digital Music and Culture
  19. _Paul D. Miller aka Dj Spooky that Subliminal Kid____Rhythm Science
  20. _Rainer M. Kiesow____Alphabet des Rechts
  21. _Gill Kirkup____The Gendered Cyborg: A Reader
  22. _Max H. Kirsch____Queer Theory and Social Change
  23. _Friedrich Kittler/Ana Ofak____Medien vor den Medien. Übertragung, Störung, Speicherung bis 1700
  24. _Friedrich Kittler____Optische Medien
  25. _Friedrich Kittler____Draculas Vermächtnis. Technische Schriften
  26. _Friedrich Kittler____Grammophon, Film, Typewriter
  27. _Friedrich Kittler____Literature, Media, Information Systems (Critical Voices)
  28. _Friedrich Kittler____Musik und Mathematik 1. 1 Bd.: Hellas – 1 Tl.: Aphrodite: Bd. 1
  29. _Friedrich A. Kittler____Discourse Networks, 1800/1900
  30. _Naomi Klein____No Logo
  31. _Naomi Klein____No logo
  32. _Richard Klein____Bob Dylan
  33. _Marcus S. Kleiner/Achim Szepanski____Soundcultures. Über elektronische und digitale Musik
  34. _Nikica Klobučar/Gordan Karabogdan____Enigma objekta
  35. _Joachim Köhler____Wer war Friedrich Nietzsche?
  36. _Leszek Kolakowski____Glavni tokovi marksizma 3
  37. _Kolko____Race in Cyberspace
  38. _Aurel Kolnai____Ekel, Hochmut, Haß. Zur Phänomenologie feindlicher Gefühle
  39. _Vitaly Komar/Aleksandr Melamid____Painting by Numbers : Komar and Melamid’s Scientific Guide to Art
  40. _Rem Koolhaas____Delirious New York: A Retroactive Manifesto for Manhattan
  41. _Mario Kopić____Proces Zapadu
  42. _Karel Kosik____O dilemama suvremene povijesti
  43. _Martti Koskenniemi____From Apology to Utopia: The Structure of International Legal Argument
  44. _Raph Koster____Theory of Fun for Game Design
  45. _Aleksandra Kostić____I levitate, what’s next
  46. _Aleš Košir____Linux s namizjem KDE
  47. _Aleš Košir____Namestimo Linux
  48. _Philip Kotler____Social Marketing
  49. _Philip Kotler/Alan R. Andreasen____Strategic Marketing for NonProfit Organizations (5th Edition)
  50. _Mario Kovač____Baršunasto podzemlje
  51. _Sophie Poklewski Koziell/Elaine Brass/Denise Searle/Paul Render____Gathering Force
  52. _Siegfried Kracauer____Jacques Offenbach and the Paris of His Time
  53. _Davor Krapac____Međunarodni sud za ratne zločine na području bivše Jugoslavije
  54. _Chris Kraus/Sylvère Lotringer____Hatred of Capitalism: A Semiotext(e) Reader
  55. _Angelika Krebs____Arbeit und Liebe. Die philosophischen Grundlagen sozialer Gerechtigkeit
  56. _Irving Kristol____Neokonzervatizam
  57. _Lenart Kučić/Sandra B. Hrvatin/Mitja Velikonja/Srečo Dragoš/Tonči Kuzmanić/Breda Luthar____Mit o zmagi levice
  58. _kuda.org____Izostavljena historija
  59. _Slavko Kulić____Neoliberalizam kao socijaldarvinizam : rat za dominaciju ili za bolji svijet
  60. _Ray Kurzweil____The Age of Spiritual Machines: When Computers Exceed Human Intelligence
  61. _Dave Kusek/Gerd Leonhard____The Future of Music: Manifesto for the Digital Music Revolution
  62. _Will Kymlicka____Politics in the Vernacular : Nationalism, Multiculturalism, and Citizenship
  63. _Will Kymlicka____Liberalizam, zajednica i kultura

________________________________________________________________

_Eduardo Kac____Telepresence, order biotelematics, more about transgenic art

[Kulturno izobraževalno društvo Kibla_2000]

________________________________________________________________

_Eduardo Kac____Signs of Life: Bio Art and Beyond

[The MIT Press_2006]

Bio art is a new art form that has emerged from the cultural impact and increasing accessibility of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists.

Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo. (A celebrated example is Eduardo Kac’s own GFP Bunny, centered on “Alba,” the transgenic fluorescent green rabbit.) The creations of bio art become a part of evolution and, provided they are capable of reproduction, can last as long as life exists on earth. Thus, bio art raises unprecedented questions about the future of life, evolution, society, and art.

The contributors to Signs of Life articulate the critical theory of bio art and document its fundamental works. The writers–who include such prominent scholars as Barbara Stafford, Eugene Thacker, and Dorothy Nelkin–consider the culture and aesthetics of biotechnology, the ethical and philosophical aspects of bio art, and biology in art history. The section devoted to artworks and artists includes George Gessert’s Why I Breed Plants, Oron Catts and Ionat Zurr’s Semi-Living Art, Marc Quinn’s Genomic Portrait, and Heather Ackroyd and Dan Harvey’s Chlorophyll.
________________________________________________________________

_Douglas Kahn____Noise, Water, Meat: A History of Sound in the Arts

[The MIT Press_2001]

This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
________________________________________________________________

_Douglas Kahn____Wireless Imagination: Sound, Radio, and the Avant-Garde

[The MIT Press_1994]

Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the “deaf century,” conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, Andre Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs.
________________________________________________________________

_Michio Kaku____Hiperprostor

[Algoritam_2006]

________________________________________________________________

_Peggy Kamuf____Univerzitet u dekonstrukciji

[Beogradski krug_1999]

________________________________________________________________

_Maja Kandido-Jakšić____Polnost i politka

[Beogradski krug_2001]

________________________________________________________________

_Milan Kangrga____Nacionalizam ili demokracija

[Razlog_2003]

________________________________________________________________

_Kojin Karatani____Transcritique : On Kant and Marx

[The MIT Press_2003]

Kojin Karatani’s Transcritique introduces a startlingly new dimension to Immanuel Kant’s transcendental critique by using Kant to read Karl Marx and Marx to read Kant. In a direct challenge to standard academic approaches to both thinkers, Karatani’s transcritical readings discover the ethical roots of socialism in Kant’s Critique of Pure Reason and a Kantian critique of money in Marx’s Capital.

Karatani reads Kant as a philosopher who sought to wrest metaphysics from the discredited realm of theoretical dogma in order to restore it to its proper place in the sphere of ethics and praxis. With this as his own critical model, he then presents a reading of Marx that attempts to liberate Marxism from longstanding Marxist and socialist presuppositions in order to locate a solid theoretical basis for a positive activism capable of gradually superseding the trinity of Capital-Nation-State.
________________________________________________________________

_Kōjin Karatani____Architecture as Metaphor: Language, Number, Money (Writing Architecture)

[The MIT Press_1995]

Kojin Karatani, Japan’s leading literary critic, is perhaps best known for his imaginative readings of Shakespeare, Soseki, Marx, Wittgenstein, and most recently Kant. His works, of which Origins of Modern Japanese Literature is the only one previously translated into English, are the generic equivalent to what in America is called “theory.” Karatani’s writings are important not only for the insights they offer on the various topics under discussion, but also as an example of a distinctly non-Western critical intervention.

In Architecture as Metaphor, Karatani detects a recurrent “will to architecture” that he argues is the foundation of all Western thinking, traversing architecture, philosophy, literature, linguistics, city planning, anthropology, political economics, psychoanalysis, and mathematics. In the three parts of the book, he analyzes the complex bonds between construction and deconstruction, thereby pointing to an alternative model of “secular criticism,” but in the domain of philosophy rather than literary or cultural criticism.

As Karatani claims in his introduction, because the will to architecture is practically nonoexistent in Japan, he must first assume a dual role: one that affirms the architectonic (by scrutinizing the suppressed function of form) and one that pushes formalism to its collapse (by invoking Kurt Godel’s incompleteness theorem). His subsequent discussions trace a path through the work of Christopher Alexander, Jane Jacobs, Gilles Deleuze, and others. Finally, amidst the drive that motivates all formalization, he confronts an unbridgeable gap, an uncontrollable event encountered in the exchange with the other; thus his speculation turns toward global capital movement. While in the present volume he mainly analyzes familiar Western texts, it is precisely for this reason that his voice discloses a distance that will add a new dimension to our English-language discourse.
________________________________________________________________

_Jonathan Ned Katz____Love Stories : Sex between Men before Homosexuality

[University Of Chicago Press_2001]

In Love Stories, Jonathan Ned Katz presents stories of men’s intimacies with men during the nineteenth century–including those of Abraham Lincoln–drawing flesh-and-blood portraits of intimate friendships and the ways in which men struggled to name, define, and defend their sexual feelings for one another. In a world before “gay” and “straight” referred to sexuality, men like Walt Whitman and John Addington Symonds created new ways to name and conceive of their erotic relationships with other men. Katz, diving into history through diaries, letters, newspapers, and poems, offers us a clearer picture than ever before of how men navigated the uncharted territory of male-male desire.

________________________________________________________________

_John Kauffman/Kevin Spencer/Thearon Willis/John Kauffman____Beginning ASP Databases

[Wrox Press_1999]

As a tutorial, Beginning ASP Databases offers an entry point to one of the most crucial aspects of Microsoft-oriented Web development–database integration with Active Server Pages. In Beginning ASP Databases, a trio of authors covers the basics of working with databases from ASP–especially using ActiveX Database Objects (ADO).
The book is quite substantive in content but is written in a somewhat light-hearted style that makes readers new to the technology comfortable. The authors begin with a discussion of the benefits of ASP and ADO, and then explain how to configure the technology on the various flavors of Windows. From there, they show how to access databases using ADO, demystify how it all works, and focus on several key areas, including debugging, SQL, and stored procedures.
Plenty of code examples are included, and each is captioned with step-by-step explanations. Exercises and quizzes also complement the material. Throughout the book the authors identify some quite useful techniques to employ and traps to watch for–nuggets of knowledge that will set new ASP programmers on the right track. A lengthy case study ties it all together with a real-world example.
If you’re planning on building Web sites on the Microsoft platform, ASP/ADO database access knowledge is essential. This fine guide offers an excellent way to get up to speed seamlessly. –Stephen W. Plain
Topics covered: ADO/OLE DB architecture, SQL, recordsets, databases and cookies, error handling, command object, stored procedures, irregular data handling, performance testing and tuning.

________________________________________________________________

_Thomas Keenan____Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics

[Stanford University Press_1997]

________________________________________________________________

_Kevin Kelly____New Rules for the New Economy

[Fourth Estate_1999]

________________________________________________________________

_David Kennedy____Of War and Law

[Princeton University Press_2006]

Modern war is law pursued by other means. Once a bit player in military conflict, law now shapes the institutional, logistical, and physical landscape of war. At the same time, law has become a political and ethical vocabulary for marking legitimate power and justifiable death. As a result, the battlespace is as legally regulated as the rest of modern life. In Of War and Law, David Kennedy examines this important development, retelling the history of modern war and statecraft as a tale of the changing role of law and the dramatic growth of law’s power. Not only a restraint and an ethical yardstick, law can also be a weapon–a strategic partner, a force multiplier, and an excuse for terrifying violence.
Kennedy focuses on what can go wrong when humanitarian and military planners speak the same legal language–wrong for humanitarianism, and wrong for warfare. He argues that law has beaten ploughshares into swords while encouraging the bureaucratization of strategy and leadership. A culture of rules has eroded the experience of personal decision-making and responsibility among soldiers and statesmen alike. Kennedy urges those inside and outside the military who wish to reduce the ferocity of battle to understand the new roles–and the limits–of law. Only then will we be able to revitalize our responsibility for war.

________________________________________________________________

_Thomas Khurana____Sinn und Gedächtnis

[Fink (Wilhelm)_2007]

________________________________________________________________

_Christina Kiaer____Imagine No Possessions: The Socialist Objects of Russian Constructivism

[The MIT Press_2005]

In Imagine No Possessions, Christina Kiaer investigates the Russian Constructivist conception of objects as being more than commodities. “Our things in our hands must be equals, comrades,” wrote Aleksandr Rodchenko in 1925. Kiaer analyzes this Constructivist counterproposal to capitalism’s commodity fetish by examining objects produced by Constructivist artists between 1923 and 1925: Vladimir Tatlin’s prototype designs for pots and pans and other everyday objects, Liubov’ Popova’s and Varvara Stepanova’s fashion designs and textiles, Rodchenko’s packaging and advertisements for state-owned businesses (made in collaboration with revolutionary poet Vladimir Mayakovsky), and Rodchenko’s famous design for the interior of a workers’ club. These artists, heeding the call of Constructivist manifestos to abandon the nonobjective painting and sculpture of the early Russian avant-garde and enter into Soviet industrial production, aimed to work as “artist-engineers” to produce useful objects for everyday life in the new socialist collective.

Kiaer shows how these artists elaborated on the theory of the socialist object-as-comrade in the practice of their art. They broke with the traditional model of the autonomous avant-garde, Kiaer argues, in order to participate more fully in the political project of the Soviet state. She analyzes Constructivism’s attempt to develop modernist forms to forge a new comradely relationship between human subjects and the mass-produced objects of modernity; Constructivists could “imagine no possessions” (as John Lennon’s song puts it) not by eliminating material objects but by eliminating the possessive relation to them. Considering such Constructivist objects as flapper dresses and cookie advertisements, Kiaer creates a dialogue between the more famous avant-garde works of these artists and their quirkier, less appreciated utilitarian objects. Working in the still semicapitalist Russia of the New Economic Policy, these artists were imagining, by creating their comradely objects, a socialist culture that had not yet arrived.
________________________________________________________________

_Paul D. Miller aka DJ Spooky that Subliminal Kid____Sound Unbound: Sampling Digital Music and Culture

[The MIT Press_2008]

The groundbreaking mix CD that accompanies this book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of the CD’s content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. (For a complete list of audio credits, see below.)

If Rhythm Science was about the flow of things, Sound Unbound is about the remix–how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes “Three Pieces”; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composer-conductor Pierre Boulez; and much more. “Press ‘play,’” Miller writes, “and this anthology says ‘here goes.’”

Contributors:
David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner.

On the CD:
1. RadioMentale and Matthew Herbert, “Cool Noises”
2. Martyn Bates/Allen Ginsberg, “Once Loved/A Footnote to ‘Howl’ (DJ Spooky Remix)”
3. Jean Cocteau, “Le buste (DJ Spooky Remix)”
4. Sun Ra, “Imagination”
5. Mikhail/Gertrude Stein, “Untitled in CoF Minor/A Valentine to Sherwood Anderson (DJ Spooky Remix)”
6. DJ Spooky vs. Rob Swift, “Scratch Battle”
7. Marcel Duchamp/The Master Musicians of Joujouka/RadioMentale, “The Creative Act/Interview with George Heard Hamilton/Boujeloud (Solo Drums)/I Could Never Make That Music Again”
8. Raymond Scott, “The Paperwork Explosion”
9. Alter Echo/Pamela Z, “Perpetual Next/Pop Titles ‘You’”*
10. Liam Gillick/ RadioMentale and Aphex Twin, “Sarah (Los Angeles Soundtrack)/I Could Never Make That Music Again”
11. James Joyce/Erik Satie, “Eolian Episode/Gnossiene (DJ Spooky Dub Version)”
12. Steve Reich, “Reed Phase”
13. Shukar/RadioMentale/Raoul Hausmann, “Cika-Laka/Cool Noises/Bbb”
14. Augustos de Campos/Bill Laswell/To Rococo Rot, “Dias Dias Dias (Spoken by Caetano Veloso)/Above the Earth/Contacte”
15. John Cage, “Rozart Mix”
16. Antonin Artaud, “Pour Finir avec le Jugement de Dieu (To Have Done with God’s Judgment) (DJ Spooky Remix)”
17. DJ Spooky, “One Laptop Theme”
18. Susan Deyhim, “The Spilled Cup (DJ Spooky Remix)”
19. Raymond Scott, “General Motors: Futurama (Interstitial)”
20. Marcel Duchamp/George Lewis and Aki Takase, “Erratum Musical (Score for Three Voices)/Voyage for Three”
21. Bill Laswell/René Magritte, “Ghost Dub/Le Surréalisme et les Questions”
22. Anthony Braxton and Evan Parker/Pauline Oliveros, “The First Set— Area 4 (Solo)/A Little Noise in the System (Moog System)”
23. Bora Yoon, “// (DJ Spooky Remix)”
24. Pierre Schaeffer, “Cinqétudes de bruits: Étude violette”
25. Daniel Bernard Roumain and Ryuichi Sakamoto, “The Need to Be”**
26. Phillip Glass, “Music in Fifths”
27. Edgard Varèse, “Poème électronique”
28. Iannis Xenakis, “Concret PH”
29. Ryoji Ikeda, “One Minute”
30. Sonic Youth, “Audience (DJ Spooky Remix)”
31. Alter Echo/Ge-te Do-pe, “Aftermath of Creations Dub (in Three Parts)/Dong Lim”
32. Terry Riley/Alter Echo, “Dorian Reeds/Aftermath of Creations Dub (in Three Parts)”
33. Luigi Russolo/DJ Spooky, “Corale/FTP > Bundle/Conduit 23″
34. Fanfare Savale/Vladimir Mayakovsky, “Rumba Lu Georgel/I Know the Power of Words”
35. Droma/Trilok Gurtu and Bill Laswell, “Pilgrim’s Song (Trala Shepa)/Kala”
36. Nam Jun Paik, “Hommage à John Cage”
37. Morton Subotnick/DJ Spooky, “Mandolin/Acid Bassline”
38. The Master Musicians of Joujouka/Hans Arp, “Mali Mal Hal M’Halmaz/Boujeloud (Solo Drums)/Dada-Sprüche”
39. Sub Swara/Kurt Schwitters, “Koli Stance/Anna Blume”
40. Walter Ruttmann/Troupe from Taschingang, “Week End/Ache Lhamo”
41. Raymond Scott, “Bendix 1: The Tomorrow People”
42. Martyn Bates/Trinlem, “I Can’t Look for You/The Palaces of Gesar’s Family (DJ Spooky Remix)”
43. Otto Luening and Vladimir Ussachevsky, “Incantation for Tape”
44. Carsten Nicolai, “Time … Dot(3)”
45. William S. Burroughs and Iggy Pop with Techno Animal, “The Western Land”

*From Pamela Z’s A Delay Is Better CD released by Starkland (www.starkland.com).
**”The Need to Be” is from DBR’s album etudes4violin&electronix released on Thirsty Ear Recordings.

Special thanks for Editorial Assistance to Roy Christopher.
________________________________________________________________

_Paul D. Miller aka Dj Spooky that Subliminal Kid____Rhythm Science

[The MIT Press_2004]

“Once you get into the flow of things, you’re always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that’s what I’m going to talk about.”
–Rhythm Science

The conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science — the creation of art from the flow of patterns in sound and culture, “the changing same.” Taking the Dj’s mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn’t stay in one place. And technology is the medium, bridging the artist’s consciousness and the outside world.

Miller constructed his Dj Spooky persona (“spooky” from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for “coding a generative syntax for new languages of creativity.” For example: “Start with the inspiration of George Herriman’s Krazy Kat comic strip. Make a track invoking his absurd landscapes… What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density.” Or, for an online “remix” of two works by Marcel Duchamp: “I took a lot of his material written on music and flipped it into a DJ mix of his visual material — with him rhyming!”

Tracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson (“all minds quote”), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. “The story unfolds while the fragments coalesce,” he writes.

Miller’s textual provocations are designed for maximum visual and tactile seduction by the international studio COMA (Cornelia Blatter and Marcel Hermans). They sustain the book’s motifs of recontextualizing and relayering, texts and images bleed through from page to page, creating what amount to 2.5 dimensional vectors. From its remarkable velvet flesh cover, to the die cut hole through the center of the book, which reveals the colored nub holding in place the included audio CD, Rhythm Science: Excerpts and Allegories from the Sub Rosa Archives, this pamphlet truly lives up to Editorial Director Peter Lunenfeld’s claim that the Mediawork Pamphlets are “theoretical fetish objects . . . ‘zines for grown-ups.”
________________________________________________________________

_Rainer M. Kiesow____Alphabet des Rechts

[Fischer (Tb.), Frankfurt_2004]

Die alphabetische Organisation des Buchs gibt manche Gelegenheit zu unerwarteten Abschweifungen und Einlassungen. Doch jede dieser Digressionen, aus denen sich dieses “Alphabet” zusammensetzt, bietet eine Fülle von Funden, Einsichten, Querverbindungen und nicht zuletzt von Quellen der Rechtsgeschichte.
________________________________________________________________

_Gill Kirkup____The Gendered Cyborg: A Reader

[Routledge_1999]

The Gendered Cyborg brings together material from a variety of disciplines that analyze the relationship between gender and technoscience, and the way that this relationship is represented through ideas, language and visual imagery. The book opens with key feminist articles from the history and philosophy of science. They look at the ways that modern scientific thinking has constructed oppositional dualities such as objectivity/subjectivity, human/machine, nature/science, and male/female, and how these have constrained who can engage in science/technology and how they have limited our ideas of the possibilities for both humanity and science.
Later sections contain readings that present key feminist theories about representation to examine how gender and technoscience are represented in areas of particular contemporary interest: the new human reproductive technologies, science fiction, film and the Internet. The readings constantly ask “Is this for women, for human beings?”
Contributors: Alison Adam, Anne Balsamo, Lynda K. Bundtzen, Barbara Creed, Mary Ann Doane, Dion Farquhar, Jennifer González, Evelynn M. Hammonds, Donna Haraway, Fiona Hovenden, Luce Irigaray, Linda Janes, Gill Kirkup, Nina Lykke, Sadie Plant, Rosalind Pollack Perchesky, Londa Schiebinger, Vivian Sobchack, Deborah Lynn Steinberg, Nancy Leys Stepan, Nina Wakeford, Kathryn Woodward.

________________________________________________________________

_Max H. Kirsch____Queer Theory and Social Change

[Routledge_2001]

The emergence of queer theory represents a huge leap in our understanding of lesbian and gay peoples. It embodies a context for treating these people as worthy of consideration in their own rights and not as an appendage to general cultural theory. Max Kirsch argues that the current development of this area is in danger of repeating past mistakes in the construction of analyses, and ultimately, social movements. In this way, the book presents an alternative to the current fascination with the abstract categories of identity, culture and difference, and emphasizes the need for a discussion of the importance of communities and role of globalization on queer movements.

________________________________________________________________

_Friedrich Kittler/Ana Ofak____Medien vor den Medien. Übertragung, Störung, Speicherung bis 1700

[Fink (Wilhelm)_2007]

________________________________________________________________

_Friedrich Kittler____Optische Medien

[Merve Verlag GmbH_2002]

________________________________________________________________

_Friedrich Kittler____Draculas Vermächtnis. Technische Schriften

[Reclam, Leipzig_1993]

________________________________________________________________

_Friedrich Kittler____Grammophon, Film, Typewriter

[Brinkmann U. Bose_1986]

________________________________________________________________

_Friedrich Kittler____Literature, Media, Information Systems (Critical Voices)

[Routledge_1997]

This volume introduces to an English-reading public the writings and insights of Friedrich A. Kittler, who, in the words of Robert C. Golub, is “the most imaginative and original of the German post-structuralists.” Merging the discourses of literature, of war, and of technology into a unified theme is Kittler’s unique contribution to contemporary theory. His research results in a vision of the future in which the distinction between mediums is erased.
John Johnston’s background combines expertise in modern literature, poststructuralist philosophy, and high technology’s production. Like Kittler, he draws on historic fact, anecdote, and literature. From this vantage point he explicates the theoretical and practical consequences of Friedrich Kittler’s insights into the social and psychological effects of the processes by which metaphor in one medium is made real by another.
Friedrich A. Kittler is Professor at the Institute for Aesthetics at Humboldt University in Berlin. As the author of seven

________________________________________________________________

_Friedrich Kittler____Musik und Mathematik 1. 1 Bd.: Hellas – 1 Tl.: Aphrodite: Bd. 1

[Fink (Wilhelm)_2005]

________________________________________________________________

_Friedrich A. Kittler____Discourse Networks, 1800/1900

[Stanford University Press_1992]

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[Harpercollins Pub Ltd_2001]

We live in an era where image is nearly everything, where the proliferation of brand-name culture has created, to take one hyperbolic example from Naomi Klein’s No Logo, “walking, talking, life-sized Tommy [Hilfiger] dolls, mummified in fully branded Tommy worlds.” Brand identities are even flourishing online, she notes–and for some retailers, perhaps best of all online: “Liberated from the real-world burdens of stores and product manufacturing, these brands are free to soar, less as the disseminators of goods or services than as collective hallucinations.”
In No Logo, Klein patiently demonstrates, step by step, how brands have become ubiquitous, not just in media and on the street but increasingly in the schools as well. (The controversy over advertiser-sponsored Channel One may be old hat, but many readers will be surprised to learn about ads in school lavatories and exclusive concessions in school cafeterias.) The global companies claim to support diversity, but their version of “corporate multiculturalism” is merely intended to create more buying options for consumers. When Klein talks about how easy it is for retailers like Wal-Mart and Blockbuster to “censor” the contents of videotapes and albums, she also considers the role corporate conglomeration plays in the process. How much would one expect Paramount Pictures, for example, to protest against Blockbuster’s policies, given that they’re both divisions of Viacom?
Klein also looks at the workers who keep these companies running, most of whom never share in any of the great rewards. The president of Borders, when asked whether the bookstore chain could pay its clerks a “living wage,” wrote that “while the concept is romantically appealing, it ignores the practicalities and realities of our business environment.” Those clerks should probably just be grateful they’re not stuck in an Asian sweatshop, making pennies an hour to produce Nike sneakers or other must-have fashion items. Klein also discusses at some length the tactic of hiring “permatemps” who can do most of the work and receive few, if any, benefits like health care, paid vacations, or stock options. While many workers are glad to be part of the “Free Agent Nation,” observers note that, particularly in the high-tech industry, such policies make it increasingly difficult to organize workers and advocate for change.
But resistance is growing, and the backlash against the brands has set in. Street-level education programs have taught kids in the inner cities, for example, not only about Nike’s abusive labor practices but about the astronomical markup in their prices. Boycotts have commenced: as one urban teen put it, “Nike, we made you. We can break you.” But there’s more to the revolution, as Klein optimistically recounts: “Ethical shareholders, culture jammers, street reclaimers, McUnion organizers, human-rights hacktivists, school-logo fighters and Internet corporate watchdogs are at the early stages of demanding a citizen-centered alternative to the international rule of the brands … as global, and as capable of coordinated action, as the multinational corporations it seeks to subvert.” No Logo is a comprehensive account of what the global economy has wrought and the actions taking place to thwart it. –Ron Hogan

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_Naomi Klein____No logo

[V.B.Z._2002]

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_Richard Klein____Bob Dylan

[Lukas Vlg Fuer Kunst Und_2006]

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_Marcus S. Kleiner/Achim Szepanski____Soundcultures. Über elektronische und digitale Musik

[Suhrkamp_2003]

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_Nikica Klobučar/Gordan Karabogdan____Enigma objekta

[Gordan Karabogdan / Nikica Klobučar_2006]

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_Joachim Köhler____Wer war Friedrich Nietzsche?

[_2000]

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_Leszek Kolakowski____Glavni tokovi marksizma 3

[BIGZ_1985]

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_Kolko____Race in Cyberspace

[Routledge_2000]

Although much has been written about the impact of technology on our daily lives, little attention has been paid to the effects of cyberspace on racial politics and identity. This collection of twelve essays explores this surprisingly underexamined aspect of cyberculture studies as it tackles a broad range of questions: the role played by language in the construction of racialized identities online; offline representations of cyberspace as a racially coded environment; and the impact technology and education has on racial inequities-in terms of access and representation on the web. Groundbreaking and timely, Race in Cyberspace brings to light the important yet vastly overlooked intersection of race and cyberspace.
Contributors: David Crane, Jennifer González, Beth E. Kolko, Joe Lockard, Tara McPherson, Lisa Nakamura, Jeffrey A. Ow, Gilbert B. Rodman, David Silver, Jonathan Sterne, Rajani Sudan, Mark Warschauer.

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_Aurel Kolnai____Ekel, Hochmut, Haß. Zur Phänomenologie feindlicher Gefühle

[Suhrkamp_2007]

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_Vitaly Komar/Aleksandr Melamid____Painting by Numbers : Komar and Melamid’s Scientific Guide to Art

[University of California Press_1998]

Since the days of the ancient Greek philosophers, people have asked the eternal question “What is beauty?” It took the insight of Russian artists Vitaly Komar and Alexander Melamid to apply modern scientific principles to this problem and finally to produce an answer. Using polls conducted by telephone in Europe, Asia, Africa, and America, Komar and Melamid were able to determine what each country wanted to see in a painting, and what was least likely to please the public. They then produced canvases based on their polling, creating the most and least wanted paintings in the world. The results are not only funny, they are also oddly disturbing. Almost every nation had the same preferences: people wanted landscapes, and did not want abstract art. Only one nation bucked the trend, but you’ll have to read the book to find out which. Painting by Numbers has more insight into art and commerce than any 10 dry studies of aesthetics, and is one of the most significant documents on popular taste ever produced–plus it’s a laugh riot. And that, Plato, is beauty.
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_Rem Koolhaas____Delirious New York: A Retroactive Manifesto for Manhattan

[Monacelli_1997]

In this fanciful volume, Dutch architect Rem Koolhaas, founder of the Office for Metropolitan Architecture (O.M.A.), both analyzes and celebrates New York City. By suggesting the city as the site for an infinite variety of human activities and events–both real and imagined–the essence of the metropolitan lifestyle, its “culture of congestion” and its architecture are revealed in a brilliant new light. “Manhattan,” Koolhaas writes, “is the 20th century’s Rosetta stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall).” Filled with fascinating facts, as well as photographs, postcards, maps, watercolors, and drawings, the vibrancy of Koolhaas’s poignant exploration of Gotham equals the heady, frenetic energy of the city itself. Anyone who loves New York will want to own this book.
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_Mario Kopić____Proces Zapadu

[Art radionica Lazareti_2003]

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_Karel Kosik____O dilemama suvremene povijesti

[Razlog_2007]

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[Cambridge University Press_2006]

Drawing from a range of materials, Martti Koskenniemi demonstrates how international law becomes vulnerable to the contrasting criticisms of being either an irrelevant moralist Utopia or a manipulable façade for State interests. He examines the conflicts inherent in international law–sources, sovereignty, ‘custom’ and ‘world order–and shows how legal discourse about such subjects can be described in terms of a small number of argumentative rules. Originally published in English in Finland in 1989, this reissue includes a newly written Epilogue by the author.
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_Raph Koster____Theory of Fun for Game Design

[Paraglyph_2004]

A Theory of Fun for Game Design is not your typical how-to book. It features a novel way of teaching interactive designers how to create and improve their designs to incorporate the highest degree of fun. As the book shows, designing for fun is all about making interactive products like games highly entertaining, engaging, and addictive. The book’s unique approach of providing a highly visual storyboard approach combined with a narrative on the art and practice of designing for fun is sure to be a hit with game and interactive designers, At first glance A Theory of Fun for Game Design is a book that will truly inspire and challenge game designers to think in new was; however, its universal message will influence designers from all walks of life. This book captures the real essence of what drives us to seek out products and experiences that are truly fun and entertaining. The author masterfully presents his engaging theory by showing readers how many designs are lacking because they are predictable and not engaging enough. He then explains how great designers use different types of elements in new ways to make designs more fun and compelling. Anyone who is interested in design will enjoy how the book works on two levels–as a quick inspiration guide to game design, or as an informative discussion that details the insightful thinking from a great mind in the game industry.
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_Aleksandra Kostić____I levitate, what’s next

[Kulturno izobraževalno društvo KIBLA_2000]

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_Aleš Košir____Linux s namizjem KDE

[Založba Pasadena_2000]

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_Aleš Košir____Namestimo Linux

[Založba Pasadena_2001]

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_Philip Kotler____Social Marketing

[Free Press_1989]

Literacy campaigns, family planning, and programs to combat teenage pregnancy, drug abuse, and AIDS represent only a fraction of the social campaigns launched by agencies throughout the world in an effort to change public behavior. These agencies hope that social campaigns may be the way to achieve social goals without repressive legislation, costly incarceration, or the resigned acceptance of defeat by society’s ills. And yet, as marketing experts Philip Kotler and Eduardo Roberto find, most of these well-intentioned campaigns have had little effect.
Now, for the first time, Kotler and Roberto provide a comprehensive, straightforward guide for planning and effectively implementing social campaigns. Using real world examples, Kotler and Roberto show how organizations devoted to social change can use their resources far more efficiently and effectively than has been the case to achieve maximum results. In probing the hows and whys of failed campaigns and the requirements for successful ones in modern industrialized nations and in developing parts of the world, Kotler and Roberto focus on the methods and tools needed to market social change efficiently.
The process of effectively influencing the beliefs, attitudes, and actions of individuals relies on communicating the right kinds and mix of offers, facilities, information, and promotion to target markets. The authors present new techniques for setting measurable objectives, researching the needs of different target markets, preparing appropriate products, services, and promotions, controlling ongoing performance, and assessing results. However, as Kotler and Roberto caution, social policy managers must also reconcile their proposed campaign features with the capabilities of their own organization and the political realities surrounding them.
Unfolding the different developmental stages of such recent social programs as the AIDS education campaign; the Condom Social Marketing Program in the Philippines; and antismoking, alcohol abuse, and environmental protection campaigns, Kotler and Roberto illustrate how developing the right marketing strategies can successfully sustain a social campaign. By following Kotler and Roberto’s expert guidance, social policy managers will recognize the growing possibilities and advantages of using a social marketing approach rather than restrictive legislation or undifferentiated mass advertising to change public behavior.

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_Philip Kotler/Alan R. Andreasen____Strategic Marketing for NonProfit Organizations (5th Edition)

[Prentice Hall_1995]

Appropriate for junior, senior and graduate-level courses in Marketing for Nonprofit Organizations, Public Administration in Nonprofit Organizations and Public Health for Nonprofit Organizations.
Reflecting the most recent, relevant information in the field, this best-selling text forms a conceptual and practical foundation for marketing in nonprofit organizations. Its coverage encompasses the entire marketing process, providing valuable insights on strategic evaluations, positioning, market targeting, and more.

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_Mario Kovač____Baršunasto podzemlje

[Studentski centar_2001]

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_Sophie Poklewski Koziell/Elaine Brass/Denise Searle/Paul Render____Gathering Force

[Big Issue Ltd_1997]

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_Siegfried Kracauer____Jacques Offenbach and the Paris of His Time

[Zone Books_2003]

Siegfried Kracauer’s biography of the composer Jacques Offenbach is a remarkable work of social and cultural history. First published in German in 1937 and in English translation in 1938, the book uses the life and work of Offenbach as a focal point for a broad and penetrating portrayal of Second Empire Paris. Offenbach’s immensely popular operettas have long been seen as part of the larger historical amnesia and escapism that pervaded Paris in the aftermath of 1848. But Kracauer insists that Offenbach’s productions must be understood as more than glittering distractions. The fantasy realms of such operettas as La Belle Hélène were as one with the unreality of Napoleon III’s imperial masquerade, but they also made a mockery of the pomp and pretense surrounding the apparatuses of power. At the same time, Offenbach’s dreamworlds were embedded with a layer of utopian content that can be seen as an indictment of the fraudulence and corruption of the times. This edition includes Kracauer’s preface to the original German edition, translated into English for the first time, and a critical foreword by Gertrud Koch.
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_Davor Krapac____Međunarodni sud za ratne zločine na području bivše Jugoslavije

[Helsinški odbor za ljudska prava _1995]

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_Chris Kraus/Sylvère Lotringer____Hatred of Capitalism: A Semiotext(e) Reader

[Semiotext(e)_2001]

Compiled in 2001 to commemorate the passing of an era, Hatred of Capitalism brings together highlights of Semiotext(e)’s most beloved and prescient works. Semiotext(e)’s three-decade history mirrors the history of American thought. Founded by French theorist and critic Sylvere Lotringer as a scholarly journal in 1974, Semiotext(e) quickly took on the mission of melding French theory with the American art world and punk underground. Its Foreign Agents, Native Agents, Active Agents and Double Agents imprints have brought together thinkers and writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In Hatred of Capitalism, editors Kraus and Lotringer bring these people together in the same volume for the first time.
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_Angelika Krebs____Arbeit und Liebe. Die philosophischen Grundlagen sozialer Gerechtigkeit

[Suhrkamp_2002]

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_Irving Kristol____Neokonzervatizam

[Algoritam_2004]

Pokret koji zovemo neokonzervativizmom ponikao je među američkim liberalima, podjednako iz negodovanja nad izvornim, rigidnim konzervativizmom staroga kova, koliko i iz razočaranja ljevicom i ideološkog neprijateljstva spram Sovjetskog Saveza. Irving Kristol, utjecajni intelektualac i ugledni izdavač i publicist, u mladosti i sam radikalni socijalist, tijekom pedesetih godina profilirao se kao jedan od glavnih rodonačelnika neokonzervativističkog sustava mišljenja. Svojim je esejima i člancima o politici, ekonomiji, društvu, religiji, kulturi, književnosti, obrazovanju i ponajviše o “vrijednostima”, doslovce definirao neokonzervativističku kritiku suvremenoga života i doprinio razvoju neokonzervativizma među čitavom generacijom američkih intelektualaca. Jednako tako, taj je svjetonazor presudno sudjelovao u oblikovanju ideje “trećeg puta” među europskom socijaldemokracijom. U prijevodu Božice Jakovlev i uz pogovor prof. dr. Zvonka Lerotića, biblioteka “Facta” predstavlja vam najcjelovitiju zbirku Kristolovih zapisa, bez čijeg poznavanja niti jedna politička opcija ne može zamisliti suvisao razgovor o političkim temama iz novije povijesti. Irving Kristol je beskompromisan, izazovan, lucidan i relevantan sugovornik – svima, a ponajprije svojim ideološkim neistomišljenicima.
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_Lenart Kučić/Sandra B. Hrvatin/Mitja Velikonja/Srečo Dragoš/Tonči Kuzmanić/Breda Luthar____Mit o zmagi levice

[Mirovni inštitut, Inštitut za sodobne družbene in politične študije_2001]

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_kuda.org____Izostavljena historija

[Revolver_2006]

“Izostavljena istorija”
Koliko smo sposobni učiti iz svojih grešaka i skustava iz prošlosti? Koliko je važno pozitivne istorijske elemente postaviti kao model za budućnost, pogotovo kada se radi o slobodarskim i progresivnim kulturnim i društvenim praksama? Ovo su samo neka od pitanja koja su pokrenuta tokom debate “Izostavljena istorija” održane u novembru mesecu 2005. godine u Novom Sadu. Pomenuta debata je pokušala da rasvetli krucijalne događaje na političkoj i umetničkoj sceni početkom sedamdesetih godina XX veka u bivšoj Jugoslaviji, a sa druge strane, da ponudi predloge modela kako kritički čitati i pisati novu istoriju jugoslovenskog socijalističkog vremena, neizostavno je povezujući sa sadašnjim trenutkom.
“Jugoslavija kao izvanredno stanje”
Ovoj publikaciji je pridruženo izlaganje Petra Milata i Tomoslava Medaka iz Zagreba, koje je deo njihovog obuhvatnijeg istraživanja o “Jugoslaviji kao biopolitičkom eksperimentu” gde govore o dva teksta – o “Novoj klasi” Milovana Đilasa i o tekstu “Jugoslavija kao nedovršena država” Zorana Đinđića – koji po njihovom mišljenju “na vrlo poseban način ekspliciraju socijalno-filozofska pitanja koja se vežu uz sudbinu formacije, koju se nekoć nazivalo ‘Jugoslavija’ (…) Dakle, što je ‘Jugoslavija’ upravo kao (socijalno-) filozofsko pitanje iz globalizirane perspektive…?” Ovde autori diskutuju o potrebi za analizom “Jugoslavije” kao socijalnog eksperimenta, “koji nam je možda… ostavio u nasljeđe distinktivni emancipatorni potencijal” te u tom smisli postavljaju pitanje mogućnosti refilozofikacije teme “socijalne revolucije” izvan samog okvira biopolitike.
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_Slavko Kulić____Neoliberalizam kao socijaldarvinizam : rat za dominaciju ili za bolji svijet

[Prometej_2004]

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_Ray Kurzweil____The Age of Spiritual Machines: When Computers Exceed Human Intelligence

[Penguin (Non-Classics)_2000]

How much do we humans enjoy our current status as the most intelligent beings on earth? Enough to try to stop our own inventions from surpassing us in smarts? If so, we’d better pull the plug right now, because if Ray Kurzweil is right we’ve only got until about 2020 before computers outpace the human brain in computational power. Kurzweil, artificial intelligence expert and author of The Age of Intelligent Machines, shows that technological evolution moves at an exponential pace. Further, he asserts, in a sort of swirling postulate, time speeds up as order increases, and vice versa. He calls this the “Law of Time and Chaos,” and it means that although entropy is slowing the stream of time down for the universe overall, and thus vastly increasing the amount of time between major events, in the eddy of technological evolution the exact opposite is happening, and events will soon be coming faster and more furiously. This means that we’d better figure out how to deal with conscious machines as soon as possible–they’ll soon not only be able to beat us at chess, but also likely demand civil rights, and might at last realize the very human dream of immortality.
The Age of Spiritual Machines is compelling and accessible, and not necessarily best read from front to back–it’s less heavily historical if you jump around (Kurzweil encourages this). Much of the content of the book lays the groundwork to justify Kurzweil’s timeline, providing an engaging primer on the philosophical and technological ideas behind the study of consciousness. Instead of being a gee-whiz futurist manifesto, Spiritual Machines reads like a history of the future, without too much science fiction dystopianism. Instead, Kurzweil shows us the logical outgrowths of current trends, with all their attendant possibilities. This is the book we’ll turn to when our computers first say “hello.” –Therese Littleton

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_Dave Kusek/Gerd Leonhard____The Future of Music: Manifesto for the Digital Music Revolution

[Berklee Press_2005]

For the next generation of players and downloaders, a provocative scenario from a music industry think tank. From the Music Research Institute at Berklee College of Music comes a manifesto for the ongoing music revolution. Today, the record companies may be hurting but the music-making business is booming, using non-traditional digital methods and distribution models. This book explains why we got where we are and where we are heading. For the iPod, downloading market, this book will explain new ways of discovering music, new ways of acquiring it and how technology trends will make music “flow like water,” benefiting the people who love music and make music.
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_Will Kymlicka____Politics in the Vernacular : Nationalism, Multiculturalism, and Citizenship

[Oxford University Press, USA_2001]

Will Kymlicka is widely regarded as the most influential and original theorist of the rights and status of ethnocultural groups in liberal democracies.This volume brings together fifteen of Will Kymlicka’s recent essays on nationalism, multiculturalism and citizenship. These essays expand on
the well-known theory of minority rights first developed in his Multicultural Citizenship. In these new essays, Kymlicka applies his theory to several pressing controversies regarding ethnic relations today, responds to some of his critics, and situates the debate over minority rights within the
larger context of issues of nationalism, democratic citizenship and globalization.political processes. Taken together, these essays make a major contribution to enriching our understanding of the theory and practice of ethnocultural relations in Western democracies.
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_Will Kymlicka____Liberalizam, zajednica i kultura

[Naklada Deltakont_2004]