Drawing on his own expertise in the humanities and on the Web, Steven Johnson not only demonstrates how interfaces - those buttons, graphics, and words on the computer 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 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.

From media art archeology to contemporary interaction design - the term interface culture is based on a vivid and ongoing discourse in the fields of interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions and the cultural discourse surrounding them. This book's aim is to give an overview of the current state of interactive art and interface technology as well as an outlook on new forms of hybridization in art, media, scientific research and every-day media applications.

Behind the mask of objective science lie the dynamics of what happens to scientists who go to live and work in another culture. Those who work and study in an alien culture often find themselves changed in ways that affect their scientific work. How does this challenge, stimulate, provoke, suggest and inspire advances and novelty in their theories, methods and instruments? Originally published in 1997, each of the essays in this title explores these issues through the experiences of a distinguished practitioner, describing the process of intellectual growth and development. Chosen for their extensive experience with people holding a different worldview, the authors have all achieved renown for their contributions to the social science of culture.

Interfaces are back, or perhaps they never left. The familiar Socratic conceit from the Phaedrus, of communication as the process of writing directly on the soul of the other, has returned to center stage in today's discussions of culture and media. Indeed Western thought has long construed media as a grand choice between two kinds of interfaces. Following the optimistic path, media seamlessly interface self and other in a transparent and immediate connection. But, following the pessimistic path, media are the obstacles to direct communion, disintegrating self and other into misunderstanding and contradiction. In other words, media interfaces are either clear or complicated, either beautiful or deceptive, either already known or endlessly interpretable. Recognizing the limits of either path, Galloway charts an alternative course by considering the interface as an autonomous zone of aesthetic activity, guided by its own logic and its own ends: the interface effect. Rather than praising user-friendly interfaces that work well, or castigating those that work poorly, this book considers the unworkable nature of all interfaces, from windows and doors to screens and keyboards. Considered allegorically, such thresholds do not so much tell the story of their own operations but beckon outward into the realm of social and political life, and in so doing ask a question to which the political interpretation of interfaces is the only coherent answer. Grounded in philosophy and cultural theory and driven by close readings of video games, software, television, painting, and other images, Galloway seeks to explain the logic of digital culture through an analysis of its most emblematic and ubiquitous manifestation – the interface.

Browsing for information is a significant part of most research activity, but many online collections hamper browsing with interfaces that are variants on a search box. Research shows that rich-prospect interfaces can offer an intuitive and highly flexible alternative environment for information browsing, assisting hypothesis formation and pattern-finding. This unique book offers a clear discussion of this form of interface design, including a theoretical basis for why it is important, and examples of how it can be done. It will be of interest to those working in the fields of library and information science, human-computer interaction, visual communication design, and the digital humanities as well as those interested in new theories and practices for designing web interfaces for library collections, digitized cultural heritage materials, and other types of digital collections.

From media art archeology to contemporary interaction design - the term interface culture is based on a vivid and ongoing discourse in the fields of interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions and the cultural discourse surrounding them. This book's aim is to give an overview of the current state of interactive art and interface technology as well as an outlook on new forms of hybridization in art, media, scientific research and every-day media applications.

Essays on the complex relationship between oral and literate modes of communication.

As contemporary socio-ecological challenges such as climate change and biodiversity preservation have become more important, the three pillars concept has increasingly been used in planning and policy circles as a framework for analysis and action. However, the issue of how culture influences sustainability is still an underexplored theme. Understanding how culture can act as a resource to promote sustainability, rather than a barrier, is the key to the development of cultural sustainability. This book explores the interfaces between nature and culture through the perspective of cultural sustainability. A cultural perspective on environmental sustainability enables a renewal of sustainability discourse and practices across rural and urban landscapes, natural and cultural systems, stressing heterogeneity and complexity. The book focuses on the nature-culture interface conceptualised as a place where experiences, practices, policies, ideas and knowledge meet, are negotiated, discussed and resolved. Rather than looking for lost unities, or an imaginary view of harmonious relationships between humans and nature based in the past, it explores cases of interfaces that are context-sensitive and which consciously convey the problems of scale and time. While calling attention to a cultural or ‘culturalised’ view of the sustainability debate, this book questions the radical nature-culture dualism dominating positive modern thinking as well as its underlying view of nature as pre-given and independent from human life.

Today, interest in networks is growing by leaps and bounds, in both scientific discourse and popular culture. Networks are thought to be everywhere – from the architecture of our brains to global transportation systems. And networks are especially ubiquitous in the social world: they provide us with social support, account for the emergence of new trends and markets, and foster social protest, among other functions. Besides, who among us is not familiar with Facebook, Twitter, or, for that matter, World of Warcraft, among the myriad emerging forms of network-based virtual social interaction? It is common to think of networks simply in structural terms – the architecture of connections among objects, or the circuitry of a system. But social networks in particular are thoroughly interwoven with cultural things, in the form of tastes, norms, cultural products, styles of communication, and much more. What exactly flows through the circuitry of social networks? How are people's identities and cultural practices shaped by network structures? And, conversely, how do people's identities, their beliefs about the social world, and the kinds of messages they send affect the network structures they create? This book is designed to help readers think about how and when culture and social networks systematically penetrate one another, helping to shape each other in significant ways.

In 1956, IBM tapped the industrial designer and architect Eliot F. Noyes to reinvent the company s corporate image, from stationery and curtains to typewriters and computers to laboratory and administration buildings. IBM would go on to assemble a cast of leading figures in American design, including Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr., who transformed the relationships between design, computer science, and corporate culture. "The Interface" is the first critical history of the industrial design of the computer and an invaluable perspective on the computer and corporate cultures of today."