The Operating System (Over 1,200 results)

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Good. Poetry. Women's Studies. LGBTQIA Studies. Art. Contrary to the book's title, LET IT DIE HUNGRY is a collection of poems bursting with life. Recklessly sensual, provocative and profoundly curious, Meissner's coming-of-age poems seek to anchor their place in a messy world, blurring the edges of hard borders and disparate identities. Finding joy, connection and determination in desperate spaces, as well as the slippery terrain of a changing self, Meissner's voice is at once a reckoning, a proclamation, and an open question. Sprinkled with the author's illustrations, the book's multidisciplinary approach also includes lesson plans, originally utilized in a women's prison, that invite the reader to write their own way out of polarizing dichotomies--and into the vast grey space of what it means to be alive. Caits Meissner's LET IT DIE HUNGRY is a stunningly potent archive of surviving. In poems, drawings, notes, and workbook-style experiments, Meissner generously shares her tools of becoming while simultaneously reinventing what a book of poems might be. In each of these modes it is clear: Meissner believes in the powers of seeing, testifying, and saying what is most difficult. Running through the blood of this book I hear Audre Lorde's charge in The Transformation of Silence Into Language and Action: 'Your silence will not protect you.' From lyric narratives to achingly lucid prose, this book is ardor-medicine against oblivion. These poems ' spill] past the heart's armor.'--Aracelis Girmay Caits Meissner's LET IT DIE HUNGRY deals with the difficulty of the body, the 'human robe' (as she aptly calls it) that hinders and endangers the soul beneath. It's an intense book--at time violent and vulnerable--a dangerous but brave place for readers, filled with dreams, fantasy, nightmare, all mixed-in with stark reality. These poems are human and wise, and in the writing prompts, the reader is helped along in the struggle to better understand herself. This is a wildly exciting debut book.--Bianca Stone In this collection dedicated to the women poets of Afghanistan that concludes with a poem for the women poets at Bedford Hills Correctional Facility, Caits Meissner writes with great urgency of lives and landscapes scarred by conflict and pain. But even as her rangy, associative poems take us into terrain of turmoil, her compassion for her subjects offers the possibility of reconciliation through the very recognition that poems provide.--David Groff. …

Paperback. Condition: Good. POWER ON is written from the perspective of our automated futures, the machines that have been coded with our present imperatives and ethics. If our colonialist interaction with the natural world and each other is presently characterized by racist and capitalist homogenization and amnesia, and if we think of technology as more than tools but as our representatives, then technological entities that carry out our work are the turning on of our ongoing script, never meant to end until forced to by powering off - through an impossibility of continuance, however that will come about. The POWER ON app explores the ethical implications of technoscience programming by also allowing readers/users to collaborate with the manuscript by uploading their own individualized perspectives into the manuscript, creating a collaboration between machine and reader. With this collaboration, I would like to provoke more than just a fun form of interactivity with poetry. Along with promoting accessibility features in poetry publication, what I attempt to highlight with the project is my own belief in readerly agency and the fact that each reader/user brings their own highly contextual perspective to a book of poetry; readerly immersion in a text is counterbalanced by a reader's identity, and I do not desire that readers/users conform themselves to the identity of the text. What makes reading poetry and writing so gratifying and dialogic, however, are our capacities for empathy and bearing witness.…

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

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Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

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paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condition: Very Good. Poetry is rightly destroyed and rebuilt in the abrasive caress of we whose claims upon the human, having constantly been denied by man, put the human to the test. It's still held by many to be a scientific fact that the humanities are not for us. At the same time, surrounding that dimensionless enclosure, whose inside and outside we refuse, we are the humanities, that fleshly mechanics, and LOVE, ROBOT is a missive from that ongoing refusal. 'I know it hurts. But/code fails' so beautifully in Margaret Rhee's hand and ear. 'The world was not made for love, ' she says. So let's follow her on out of it. -Fred Moten The poems of LOVE, ROBOT are delicate and smooth, witty and touching, and yes, occasionally odd and strange, as human beings themselves are. In a paradoxical and wonderful way, Margaret Rhee's robot love affairs make us rethink what it might mean to be human. -Viet Thanh Nguyen, Pulitzer Prize-winning author of The Sympathizer Margaret Rhee's LOVE, ROBOT is a gorgeous, brainy collection of poems about erotic connections between humans and machines and the impossibility of disentangling the one from the other. Love machines thrum through these poems, all lit up with desire and electric light, showing 'how to make a circuit.' LOVE, ROBOT resonates with works of great science fiction such as Philip K. Dick's Do Androids Dream of Electric Sheep, Ted Chiang's The Lifecycle of Software Objects, and Marge Piercy's He, She, and It, but offers something different, rare, and beautiful in its piercing lyricism and keen, surprising pleasures. -Shelley Streeby author of Radical Sensations and the Director of the Clarion Science Fiction and Fantasy Writers Workshop .As Rhee writes: 'I loved you but/you could not make us beautiful./ I loved you because you could make beautiful things/that I never got to keep.' This way of calling out to a beloved, with whom a reciprocal feeling or encounter is never certain, reminded me - not in its form, but in its feeling - of the Mira Bai's bhajans. Has Margaret Rhee written the world's first cyberbhajan? ' S]ay, robot, ' the book ends: 'murmur to me, it is the middle of the night./.we all deserve a song that is untranslatable'. How beautiful, how ultra-real: I found this sentiment, this voltage, this unspeakable song: to be. -Bhanu KapilA collection of love poetry that undercuts and reassembles narratives, LOVE, ROBOT is an experimental text that humanizes our relationship with technology. Through liaisons between humans and machines in a science fictional world, the collection offers a tense, playful, yet complex portrait of love, reflective of our contemporary moment. Rhee draws from a wide array of forms from poetics and robotics such as algorithms, narrative poetry, chat scripts, and failed sonnets to create a world of transgressive love. This vision of an artificially intelligent future reveals and questions the contours of the human, and how robots and humans fall in and out of love. …

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Paperback. Condition: Good. In the tragi-comic-and worse-chaos of our times-suppose our writing began to appear as letters caught in barcodes. Phrases and bits of words breaking off en route to scanners designed for registering information but not the disturbance of meaning. It is, literally, with this provocative vision that Judith Goldman's AGON begins. Fragments-words with ing or ite or ppeals detached-mark the violence and folly of our weaponized and otherwise benighted cultures. At times, a necessary lyricism wells up without betraying the truth of 'Cumulative transfers By the 'agreed upon' price / the Temp, est has of late stripped the pe, tals away.' There's even more to this many-genred book-one to be lived with, in the urgency of its poetry, its philosophical and socio-political inquiry-font of brilliance that sustains vitally agonistic conversation across perilous divides.-Joan RetallackThe Commodification of Everything. That was the pivot point of materialist discourse not even five years ago. But now, it's time to crack open the piths of the most fundamental doings of our species. After the sweeping tide of ethnonational victories currently sweeping the globe, The Weaponization of Everything, is not merely the 'speak' of The Now, but the do of all its subjects, whether collusive or rebellious. Judith Goldman's AGON is borne amidst this new reality. Few works of experimental literature aim so high as to flush out the full range affectual coordinates as to reveal their age's Agon as a controlling demigod of our own making, that is, to raise up the Agon's 'agon'.-Rodrigo ToscanoJudith Goldman's AGON confronts the ubiquitous naturalization inherent in the weaponization of race, gender, global warming, poetics, language, utterance, politics, torture, immigration, and whatever else is changeable under the guise of aggression masquerading as mental freedom. '.the intensification of weapons already in place, ' and '.observed nearly everywhere, ' AGON deftly solders ideas of defensive assimilation (weapons already in place) to our conscious and unconscious activities of daily living. One can only bow down in shock and awe to AGON's scorched earth dissemination of open-ended spaces to think, while thinking is still, hopefully, under what we presume is our jurisdiction.-Kim RosenfieldA cross-genre work that intercuts and assembles three textual threads, AGON inventories ubiquitous contemporary exempla of weaponization: in the culture propagated by neoliberalism, all social forms-ordinary, necessary relations, transactions, and communications-have been turned into fodder for social aggression. AGON audits the disavowed violence of abstractive technologies in their material effects, while also tracing the subtle anatomy of violence in its more proper spheres. Is poetry one of these? Writing alongside Amiri Baraka's invective Black Art, AGON builds a dossier on the aggressivity peculiar to literary speech, thinking this issue in relation to the volatile politics around poetry in America at this moment.…