Una bonita serie de libros breves sobre las últimas tendencias en páginas digitales (HTML5, CSS3, estrategias de contenido, diseño líquido, tipografía…).
Contribución en el homenaje a los Premios Malofiej -vigésima edición- en el libro ‘Infographics. A visual definition’.
81 autores rinden homenaje con sus obras a la cita Malofiej en su vigésima edición, celebrada en Pamplona entre el 18 y el 23 de marzo de 2012.
“… Cuando se cumplen veinte años de los Premios Internacionales y de la Cumbre Mundial de Infografía Malofiej, que cada año organizan el Capítulo Español de la Society for News Design (SND-E) y la Facultad de Comunicación de la Universidad de Navarra (España), en medio de una fuerte recesión económica y de una más fuerte crisis de identidad que afecta especialmente a los medios de los países más avanzados, hemos creído oportuno invitar a los mejores infografistas del mundo a que definan visualmente su oficio. A que hagan una infografía de la infografía. En estas páginas encontramos el resultado. Es nuestro humilde homenaje a un género que ha sido, es y será decisivo en periodismo. Como decisivo va a seguir siendo el periodismo para entender mejor nuestras vidas”.
Javier Errea, presidente del Capítulo Español de la SND en el prólogo del libro.
All Devils Are Here: The Hidden History of the Financial Crisis Bethany McLean y Joe Nocera.
Hardcover: 400 pages
Publisher: Portfolio Hardcover (November 16, 2010)
“Hell is empty, and
all the devils are here.”
-Shakespeare, The Tempest
LOS DEMONIOS, según los autores:
• Angelo Mozilo, the CEO of Countrywide, who dreamed of spreading homeownership to the masses, only to succumb to the peer pressure-and the outsized profits-of the sleaziest subprime lending.
• Roland Arnall, a respected philanthropist and diplomat, who made his fortune building Ameriquest, a subprime lending empire that relied on blatantly deceptive lending practices.
• Hank Greenberg, who built AIG into a Rube Goldberg contraption with an undeserved triple-A rating, and who ran it so tightly that he was the only one who knew where all the bodies were buried.
• Stan O’Neal of Merrill Lynch, aloof and suspicious, who suffered from “Goldman envy” and drove a proud old firm into the ground by promoting cronies and pushing out his smartest lieutenants.
• Lloyd Blankfein, who helped turn Goldman Sachs from a culture that famously put clients first to one that made clients secondary to its own bottom line.
• Franklin Raines of Fannie Mae, who (like his predecessors) bullied regulators into submission and let his firm drift away from its original, noble mission.
• Brian Clarkson of Moody’s, who aggressively pushed to increase his rating agency’s market share and stock price, at the cost of its integrity.
• Alan Greenspan, the legendary maestro of the Federal Reserve, who ignored the evidence of a growing housing bubble and turned a blind eye to the lending practices that ultimately brought down Wall Street-and inflicted enormous pain on the country.
Just as McLean’s The Smartest Guys in the Room was hailed as the best Enron book on a crowded shelf, so will All the Devils Are Here be remembered for finally making sense of the meltdown and its consequences.
About the Author
Bethany McLean is a writer for Vanity Fair and the coauthor of The Smartest Guys in the Room: The Amazing Rise and Scandalous Fall of Enron. Before joining Vanity Fair, she wrote for Fortune for thirteen years (most recently as an editor at large) and spent three years working in the investment banking division of Goldman Sachs. She lives in Chicago.
Joe Nocera is a business columnist for The New York Times and a staff writer for The New York Times Magazine. He spent ten years at Fortune as a contributing writer, editor at large, executive editor, and editorial director. He has won three Gerald Loeb awards for excellence in business journalism and was a finalist for a Pulitzer Prize in 2006. He lives in New York.
Hardcover: 300 pages
Publisher: Encounter Books (November 16, 2010)
The New York Times was once considered the gold standard in American journalism and the most trusted news organization in America. Today, it is generally understood to be a vehicle for politically correct ideologies, tattered liberal pieties, and a repeated victim of journalistic scandal and institutional embarrassment.
In Gray Lady Down, the hard-hitting follow up to Coloring the News, William McGowan asks who is responsible for squandering the finest legacy in American journalism. Combining original reporting, critical assessment and analysis, McGowan exposes the Times’ obsessions with diversity, “soft” pop cultural news, and countercultural Vietnam-era attitudinizing, and reveals how these trends have set America’s most important news icon at odds with its journalistic mission—and with the values and perspectives of much of mainstream America.
Gray Lady Down considers the consequences—for the Times, for the media, and, most important, for American society and its political processes at this fraught moment in our nation’s history. In this highly volatile media environment, the fate of the Times may portend the future of the fourth estate.
Coloring the News: How Political Correctness Has Corrupted American Journalism
Paperback: 262 pages
Publisher: Encounter Books; 1 edition (May 1, 2003)
Product Dimensions: 9.2 x 6 x 0.9 inches
From Publishers Weekly
In a book likely to spark controversy, and with the relentlessness of a prosecutor, McGowan (Only Man Is Vile: The Tragedy of Sri Lanka), a fellow at the conservative Manhattan Institute, presents case after case in which, he contends, reporters and editors got stories wrong or ignored topics worthy of coverage because of their liberal ideologies and their fear of offending African-Americans, gays or feminists. (In many cases, he says, the journalists later admitted their own timidity.) Both in hiring practices and story coverage, multicultural journalism is “oversimplifying complicated issues” and “undermining the spirit of public cooperation and trust,” McGowan writes. On race, he points to what he calls “soft” coverage of Washington, D.C., mayor Marion Barry and Rev. Louis Farrakhan’s Million Man March. But some of his arguments are inflammatory. Lumping “Gay and Feminist Issues” together in one chapter, he compares the coverage of the Matthew Shepard murder and that of another murder by two gay pedophiles in light of what he calls “the sanctity of the gays-as-victims script.” McGowan also cites biases in reporting on the abortion issue, attributing them to the fact that over 80% of journalists surveyed say they are pro-choice. Detractors will note that journalists rarely cover issues without biases, and that it’s unlikely that journalists of the past covered most causes including the 1960s struggle for civil rights that McGowan holds up as a model for race relations in the United States with the objectivity he trumpets. Skeptics of multiculturalism will love this book, and lefties will love to hate it. (Nov. 15)Forecast: Encounter Books knows how to reach its conservative audience. More generally, this will generate controversy among media mavens.
William McGowan is the author of “Coloring the News: How Crusading for Diversity has Corrupted American Journalism.”
William McGowan is the author of Only Man Is Vile: The Tragedy of Sri Lanka (Farrar, Straus & Giroux). He has reported for Newsweek International and the BBC and has written for the New York Times, the Washington Post, Columbia Journalism Review and other national publications. A regular contributor to the Wall Street Journal, he is currently a senior fellow at the Manhattan Institute. He lives in New York City.
THE GEOMETRY OF PASTA
Jacob Kenedy (Author), Caz Hildebrand (Author)
Hardcover: 256 pages
Publisher: Boxtree (7 May 2010)
Product Dimensions: 22 x 16.2 x 3.8 cm
Caz Hildebrand, Creative Partner at Here Design, has designed and created a new cook book, The Geometry of Pasta, with recipes by chef Jacob Kenedy, published by Boxtree/Macmillan.
Product Dimensions: 13.2 x 11.2 x 1 inches
13 x 11, 288 pp., 500 color illus.
Cartographic maps have guided our explorations for centuries, allowing us to navigate the world. Science maps have the potential to guide our search for knowledge in the same way, helping us navigate, understand, and communicate the dynamic and changing structure of science and technology. Allowing us to visualize scientific results, science maps help us make sense of the avalanche of data generated by scientific research today.
Atlas of Science, features more than thirty full-page science maps, fifty data charts, a timeline of science-mapping milestones, and 500 color images; it serves as a sumptuous visual index to the evolution of modern science and as an introduction to “the science of science”—charting the trajectory from scientific concept to published results.
Atlas of Science, based on the popular exhibit “Places & Spaces: Mapping Science,” describes and displays successful mapping techniques. The heart of the book is a visual feast: Claudius Ptolemy’s Cosmographia World Map from 1482; a guide to a PhD thesis that resembles a subway map; “the structure of science” as revealed in a map of citation relationships in papers published in 2002; a periodic table; a history flow visualization of the Wikipedia article on abortion; a globe showing the worldwide distribution of patents; a forecast of earthquake risk; hands-on science maps for kids; and many more.
Each entry includes the story behind the map and biographies of its makers.
Not even the most brilliant minds can keep up with today’s deluge of scientific results. Science maps show us the landscape of what we know.
The MIT Press
Hardcover: 32 pages
Publisher: Mark Batty Publisher (November 9, 2010)
Product Dimensions: 9.4 x 7.1 x 0.4 inches
In The Unruly Alphabet, illustrator Aaron McKinney uses the Latin alphabet to create a lively and haunting abecedary. The restless glyphs tangle and spar with one another, setting the stage for scenes where “A was arrested, while B bit bullies” and “G is gored, which makes H hurl.” McKinney renders the scenes with macabre detail and sinister wit, and the accompanying captions hum with gallows humor. The Unruly Alphabet is truly an alphabet book like no other, for the brooding child in every adult.
What if the letter A were an aggressive drunk who got into barroom brawls with his neighbor, B? Taking the term “word play” literally, illustrator Aaron McKinney sets the alphabet against a backdrop of rebellious behavior in The Unruly Alphabet. From hurling to undressing, McKinney’s bold renderings are darkly comical. By revealing the devilish characters embodied by each letter, they visually showcase human nature.
Aggressive and detailed, McKinney’s cantankerous glyphs compete in strange and nightmarish ways—C is chased by a devouring D, M mauls a napping N, and S swallows and terrorizes T.
“I’ve always been interested in etymology,” McKinney says. “The way words, a human constructed concept, play off one another to somehow convey thought and expression in our minds fascinates me. With that thought in mind, I decided to strip language down to its most primitive form, the alphabet. To make it interesting, I anthropomorphized each letter with some of humanity’s most common, despicable traits. With each letter playing off the next, the end result is the alphabet, a pretty inorganic and deliberate thing made more barbarically human.”
The Hand Drawn Map Association
Colecciones de mapas realizados a mano.
Here to There: A Curious Collection from the Hand Drawn Map Association
Paperback: 224 pages
Publisher: Princeton Architectural Press (September 1, 2010)
Autor: Kris Harzinski runs a graphic design studio called Free Design in Lancaster, Pennsylvania.
Hardcover: 256 pages
Publisher: Princeton Architectural Press; 26,5 cm x 23,5 cm edition (September 23, 2009)
Autora: Katharine Harmon
Terms and Conditions
Our goal at the HDMA is to share our collection of maps with the widest audience possible. To this end, by submitting work to the HDMA you grant us permission to use your sumbmission as indicated below. You still have the right to use your material in any way you see fit, you are simply allowing us to publish the work here and to share it in other ways such as exhibitions, publicity, and other publications in the future.
When you submit maps or other images or information to the HDMA, you are giving us a perpetual, royalty-free license (that is, “permission”) to use, reproduce, publish, and otherwise exercise intellectual property rights (including copyright and rights of publicity) with respect to your submission, including storing it electronically and using or incorporating it in other works and in any media now known or later developed, including without limitation, in published books and public exhibitions. You also agree that we can use your submission at our discretion, including cropping, tinting, or otherwise altering it for our uses, and we can share it with the public through different methods. Finally, since this is a public project, you agree not to hold the HDMA or any of its members or agents responsible for any uses the HDMA or anyone else may make of your submission. If you have any concerns about sharing the information contained in your submission with the public, you should not submit it to the HDMA.
Kafka para principiantes.
Visión de ROBERT CRUMB (Filadelfia, EEUU, 1943), bajo los efectos del LSD, de Franz Kafka (1883-1924), mito literario checo.
Ediciones LA CÚPULA.
Cartoné. 17 x 24 cm. 180 págs. B/N.
Título original: Kafka for beginners (1996)
Autores: Robert Crumb, David Zane Mairowitz
Publicación: Febrero de 2010
DETALLES del libro.