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The conventional understanding of Japanese wartime ideology has for years been summed up by just a few words: anti-modern, spiritualist, and irrational. Yet such a cut-and-dried picture is not at all reflective of the principles that guided national policy from 1931–1945. Challenging the status quo, Constructing East Asia examines how Japanese intellectuals, bureaucrats, and engineers used technology as a system of power and mobilization—what historian Aaron Moore terms a \"technological imaginary\"—to rally people in Japan and its expanding empire. By analyzing how these different actors defined technology in public discourse, national policies, and large-scale infrastructure projects, Moore reveals wartime elites as far more calculated in thought and action than previous scholarship allows. Moreover, Moore positions the wartime origins of technology deployment as an essential part of the country's national policy and identity, upending another predominant narrative—namely, that technology did not play a modernizing role in Japan until the \"economic miracle\" of the postwar years.

Using as his example post-World War I Italy and the government's interest in the size, growth rate, and \"vitality\" of its national population, David Horn suggests a genealogy for our present understanding of procreation as a site for technological intervention and political contestation.Social Bodieslooks at how population and reproductive bodies came to be the objects of new sciences, technologies, and government policies during this period. It examines the linked scientific constructions of Italian society as a body threatened by the \"disease\" of infertility, and of women and men associalbodies--located neither in nature nor in the private sphere, but in that modern domain of knowledge and intervention carved out by statistics, sociology, social hygiene, and social work. Situated at the intersection of anthropology, cultural studies, and feminist studies of science, the book explores the interrelated factors that produced the practices of reason we call social science and social planning. David Horn draws on many sources to analyze the discourses and practices of \"social experts,\" the resistance these encountered, and the often unintended effects of the new objectification of bodies and populations. He shows how science, while affirming that maternity was part of woman's \"nature,\" also worked to remove reproduction from the domain of the natural, making it an object of technological intervention. This reconstitution of bodies through the sciences and technologies of the social, Horn argues, continues to have material consequences for women and men throughout the West.

InVirtual Modernism, Katherine Biers offers a fresh view of the emergence of American literary modernism from the eruption of popular culture in the early twentieth century. Employing dynamic readings of the works of Stephen Crane, Henry James, James Weldon Johnson, Djuna Barnes, and Gertrude Stein, she argues that American modernist writers developed a \"poetics of the virtual\" in response to the rise of mass communications technologies before World War I. These authors' modernist formal experimentation was provoked by the immediate, individualistic pleasures and thrills of mass culture. But they also retained a faith in the representational power of language-and the worth of common experience-more characteristic of realism and naturalism. In competition with new media experiences such as movies and recorded music, they simultaneously rejected and embraced modernity. Biers establishes the virtual poetics of these five writers as part of a larger \"virtual turn\" in the United States, when a fascination with the writings of Henri Bergson, William James, and vitalist philosophy-and the idea of virtual experience-swept the nation.Virtual Modernismcontends that a turn to the virtual experience oflanguagewas a way for each of these authors to carve out a value for the literary, both with and against the growth of mass entertainments. This technologically inspired reengagement with experience was formative for American modernism. Situated at the crossing points of literary criticism, philosophy, media studies, and history,Virtual Modernismprovides an examination of Progressive Era preoccupations with the cognitive and corporeal effects of new media technologies that traces an important genealogy of present-day concerns with virtuality.

During the early decades of the Cold War, large-scale investments in American defense and aerospace research and development spawned a variety of problem-solving techniques, technologies, and institutions. From systems analysis to reconnaissance satellites to think tanks, these innovations did not remain exclusive accessories of the defense establishment. Instead, they readily found civilian applications in both the private and public sector. City planning and management were no exception. Jennifer Light argues that the technologies and values of the Cold War fundamentally shaped the history of postwar urban America. From Warfare to Welfare documents how American intellectuals, city leaders, and the federal government chose to attack problems in the nation's cities by borrowing techniques and technologies first designed for military engagement with foreign enemies. Experiments in urban problem solving adapted the expertise of defense professionals to face new threats: urban chaos, blight, and social unrest. Tracing the transfer of innovations from military to city planning and management, Light reveals how a continuing source of inspiration for American city administrators lay in the nation's preparations for war.

This book provides an introduction to postphenomenology, an emerging school of thought in the philosophy of technology and science and technology studies, which addresses the relationships users develop with the devices they use.

This first ever history of technology casts aside the usual stories of inventions and focuses instead on what people actually use. It reassesses the relationship of technology and society, using unrecognised examples such as Spanish synthetic petrol, Japanese rickshaws, American gas chambers, Soviet tractors and Turkish battleships. We do not live in an era of ever increasing change, and the most important technologies of the twenty first century are often overlooked today. Drawing on political, economic and cultural history, The Shock of the Old dispels misplaced futurism and exemplifies a radical new way of looking at our world.

This study assesses the significance of Pinocchio in the twentieth and twenty-first centuries in addition to his status as the creature of a nineteenth century traversed by a cultural enthusiasm for dummies, puppets, and marionettes. This collection identifies him as a figure characterized by a 'fluid identity,' informed with transition, difference, joie de vivre, otherness, displacement, and metamorphosis, making Pinocchio a truly modern, indeed postmodern and posthuman, cultural icon. Pinocchio, Puppets and Modernity explores this crucial and as yet little visited field, reassessing Pinocchio's genealogy and progeny, as well as illuminating both the wider context and more specific cultural manifestations of the mechanical-human interface in the domains of theatre, the fine arts, literature, radio, and even virtual reality coherently with the digital metamorphosis of our times. The wide-ranging scope of this exploration encompasses Italian, French, and English literature, dummies and marionettes in modernist and contemporary theatre, the fairytale tradition, and traditional and contemporary painting, as well as the older and newer media of radio, television, cinema, and the Internet. The diverse, comparative, and multimedia focus of this original discussion testifies to the enduring transcultural legacy of Pinocchio. Eminently sellable as a traditional cultural icon, Pinocchio is equally impactful and relevant for a globalized, multicultural, and virtual society, from Collodi to Disney and beyond. Katia Pizzi is Senior Lecturer in Italian at the Institute of Germanic & Romance Studies, School of Advanced Study, University of London. She has published volumes on cultural identities, including A City in Search of an Author (2001) and The Cultural Identities of European Cities (2010), and on children's literature and illustration.

In a gripping story of international power and deception, Engel reveals the \"special relationship\" between the United States and Great Britain. As allies, they fought Communism; as rivals, they clashed over which would lead the Cold War fight. In the quest for sovereignty and hegemony, Engel shows that one important key was airpower, which created jobs, forged ties with the developing world, and ensured military superiority, ultimately affecting forever the global balance of power.

Technology of one kind or another has always been a central ingredient in war. The Spartan king Archidamus, for instance, reacted with alarm when first witnessing a weapon that could shoot darts through the air. And yet during the past two centuries technology has played an unprecedented role in military affairs and thinking, and in the overall conduct of war. In addition, the impact of new technology on warfare has brought major social and cultural changes. This volume explores the relationship between war, technology, and modern society over the course of the last several centuries. The two world wars, total conflicts in which industrial technology took a terrible human toll, brought great changes to the practice of organized violence among nations; even so many aspect of military life and values remained largely unaffected. In the latter half of the twentieth century, technology in the form of nuclear deterrence appears to have prevented the global conflagration of world war while complicating and fueling ferocious regional contests. A stimulating fusion of military and social history, extending back to the eighteenth century, and with contributions from such leading historians as Brian Bond, Paddy Griffith, and Neil McMillen, War in the Age of Technology will interest lay readers and specialists alike.

In recent decades, the importance of sound for remembering the past and for creating a sense of belonging has been increasingly acknowledged. We keep \"sound souvenirs\" such as cassette tapes and long play albums in our attics because we want to be able to recreate the music and everyday sounds we once cherished. Artists and ordinary listeners deploy the newest digital audio technologies to recycle past sounds into present tunes. Sound and memory are inextricably intertwined, not just through the commercially exploited nostalgia on oldies radio stations, but through the exchange of valued songs by means of pristine recordings and cultural practices such as collecting, archiving and listing. This book explores several types of cultural practices involving the remembrance and restoration of past sounds. At the same time, it theorizes the cultural meaning of collecting, recycling, reciting, and remembering sound and music. Herinneringen halen we niet alleen op aan de hand van beelden, maar ook met behulp van geluid. We koesteren onze versleten bandrecorderspoelen, cassettebandjes en langspeelplaten - onze \"sound souvenirs\" - om de muziek van vroeger nog eens te horen. Radioprogramma's als de Top2000 houden oude nummers eindeloos in de lucht. In geluidsarchieven bewaren we de redes van beroemde politici. In de auto nemen we voortdurend onze persoonlijke muziekbestanden met ons mee. En een enkele keer worden we herinnerd aan geluiden die we liever vergeten, zoals die van bombardementen. Dit boek verkent de verschillende culturele praktijken waarin we het geluid van het verleden gewenst en ongewenst terughalen en probeert de culturele betekenis van het verzamelen, citeren en herinneren van geluid en muziek te begrijpen. Met bijdragen van Ruth Benschop, Carolyn Birdsall, Hans-Joachim Braun, Michael Bull, Karin Bijsterveld & Annelies Jacobs, José van Dijck, Andreas Fickers, Bas Jansen, Trevor Pinch & David Reinecke, Jonathan Sterne, Tim Taylor en Heike Weber.