In Knowledge, Art, and Power John Ryder develops a pragmatic naturalist theory of experience that posits the cognitive (knowledge), the aesthetic (art), and the political (power) as the most general and pervasive dimensions of all human experience.

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities. The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art–science collaborations. Rogers’s subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art–science curator, draws on her own work to consider the concept of curation as a form of critical analysis.

Academic freedom rests on a shared belief that the production of knowledge advances the common good. In an era of education budget cuts, wealthy donors intervening in university decisions, and right-wing groups threatening dissenters, scholars cannot expect that those in power will value their work. Can academic freedom survive in this environment—and must we rearticulate what academic freedom is in order to defend it? This book presents a series of essays by the renowned historian Joan Wallach Scott that explore the history and theory of free inquiry and its value today. Scott considers the contradictions in the concept of academic freedom. She examines the relationship between state power and higher education; the differences between the First Amendment right of free speech and the guarantee of academic freedom; and, in response to recent campus controversies, the politics of civility. The book concludes with an interview conducted by Bill Moyers in which Scott discusses the personal experiences that have informed her views. Academic freedom is an aspiration, Scott holds: its implementation always falls short of its promise, but it is essential as an ideal of ethical practice. Knowledge, Power, and Academic Freedom is both a nuanced reflection on the tensions within a cherished concept and a strong defense of the importance of critical scholarship to safeguard democracy against the anti-intellectualism of figures from Joseph McCarthy to Donald Trump.

Ronald Reagan’s most-quoted living author—George Gilder—is back with an all-new paradigm-shifting theory of capitalism that will upturn conventional wisdom, just when our economy desperately needs a new direction. America’s struggling economy needs a better philosophy than the college student's lament: "I can't be out of money, I still have checks in my checkbook!" We’ve tried a government spending spree, and we’ve learned it doesn’t work. Now is the time to rededicate our country to the pursuit of free market capitalism, before we’re buried under a mound of debt and unfunded entitlements. But how do we navigate between government spending that's too big to sustain and financial institutions that are "too big to fail?" In Knowledge and Power, George Gilder proposes a bold new theory on how capitalism produces wealth and how our economy can regain its vitality and its growth. Gilder breaks away from the supply-side model of economics to present a new economic paradigm: the epic conflict between the knowledge of entrepreneurs on one side, and the blunt power of government on the other. The knowledge of entrepreneurs, and their freedom to share and use that knowledge, are the sparks that light up the economy and set its gears in motion. The power of government to regulate, stifle, manipulate, subsidize or suppress knowledge and ideas is the inertia that slows those gears down, or keeps them from turning at all. One of the twentieth century’s defining economic minds has returned with a new philosophy to carry us into the twenty-first. Knowledge and Power is a must-read for fiscal conservatives, business owners, CEOs, investors, and anyone interested in propelling America’s economy to future success.

This collection brings together contemporary Indigenous knowledge holders with extraordinary works of historical Northwest Coast art. The photographs and commentaries speak to the connections between tangible and intangible cultural belongings; how "art" remains part of Northwest Coast peoples' ongoing relationships to their territories and governance; Indigenous experiences of reconnection, reclamation, and return; and critical and necessary conversations around the role of museums. Residence: Vancouver, B.C. Print run 3,500.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

This book argues that a special value of art is the way in which it uses conscious experience -- the exemplars of aesthetic experience -- to autonomously reconfigure how we conceive of our world and ourselves, ourselves in our world and our world in ourselves. Exemplar representation ties art and science, mind and body, self and world together in a dynamic loop reconfiguring them all as it reconfigures itself.

Essay from the year 2011 in the subject Philosophy - Philosophy of the Present, language: English, abstract: It is quite interesting to notice that as Foucault re-imagined his entire intellectual endeavour, he rightly elevated one aspect of his interest to the heart of the entire problematic whether it be his study of knowledge or power or even human behaviour - and that is the problem of subject. Though an idea of a 'passive subject' is implicit in his early studies, as they deal with the discursive formations and power, it is only in Foucault's later writings that 'subject' emerges as the major concern. Subject here becomes central to one function that is the function of "telling the truth, ' especially, in a historical formation in which 'truth' is something that is granted and is produced in an environment of inter-related discursive and non-discursive systems.