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In this work, Buber expounds upon and defends the Zionist experiment - a federal system of communities on a co-operative basis. He looks to the anarchists Proudhon, Kropotkin and Gustav Landauer, but selects only that part of their doctrines appropriate to his case.
Consisting of ten collaborative picture-essays that weave Cindy Milstein’s poetic words within Erik Ruin’s intricate yet bold paper-cut and scratch-board images, Paths toward Utopia suggests some of the here-and-now practices that prefigure, however imperfectly, the self-organization that would be commonplace in an egalitarian society. The book mines what we do in our daily lives for the already-existent gems of a freer future—premised on anarchistic ethics like cooperation and direct democracy. Its pages depict everything from seemingly ordinary activities like using parks as our commons to grandiose occupations of public space that construct do-it-ourselves communities, if only temporarily, including pieces such as “The Gift,” “Borrowing from the Library,” “Solidarity Is a Pizza,” and “Waking to Revolution.” The aim is to supply hints of what it routinely would be like to live, every day, in a world created from below, where coercion and hierarchy are largely vestiges of the past. Paths toward Utopia is not a rosy-eyed stroll, though. The book retains the tensions in present-day attempts to “model” horizontal institutions and relationships of mutual aid under increasingly vertical, exploitative, and alienated conditions. It tries to walk the line between potholes and potential. Yet if anarchist and other autonomist efforts are to serve as a clarion call to action, they must illuminate how people qualitatively, consensually, and ecologically shape their needs as well as desires. They must offer stepping-stones toward emancipation. This can only happen through experimentation, by us all, with diverse forms of self-determination and self-governance, even if riddled with contradictions in this contemporary moment. As the title piece to this book steadfastly asserts, “The precarious passage itself is our road map to a liberatory society.”
Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.
Utopia should be understood as a method rather than a goal. This book rehabilitates utopia as a repressed dimension of the sociological and in the process produces the Imaginary Reconstitution of Society, a provisional, reflexive and dialogic method for exploring alternative possible futures.
This is a story of belief, disillusionment and atonement. Long identified with leftist causes, the journalist Eugene Lyons was by background and sentiment predisposed to early support of the Russian Revolution. A "friendly correspondent," he was one of a coterie of foreign journalists permitted into the Soviet Union during the Stalinist era because their desire to serve the revolution was thought to outweigh their desire to serve the truth. Lyons first went to the Soviet Union in 1927, and spent six years there. He was there as Stalin consolidated his power, through collectivization and its consequences, as the cultural and technical intelligentsia succumbed to the secret police, and as the mechanisms of terror were honed. As Ellen Frankel Paul notes in her major new introduction to this edition, "It was this murderous reality that Stalin's censors worked so assiduously to camouflage, corralling foreign correspondents as their often willing allies." Lyons was one of those allies. Assignment in "Utopia "describes why he refused to see the obvious, the forces that kept him from writing the truth, and the tortuous path he traveled in liberating himself. His story helps us understand how so many who were in a position to know were so silent for so long. In addition, it is a document, by an on-the-scene journalist, of major events in the critical period of the first Five-Year Plan. As Ellen Frankel Paul notes in her major new introduction to this new edition, Assignment in "Utopia "is particularly timely. The system it dissects in such devastating detail is in the process of being rejected throughout Eastern Europe and is under challenge in the Soviet Union itself. The book lends insight into the "political pilgrim" phenomenon described by Paul Hollander, in which visitors celebrate terrorist regimes, seemingly oblivious to their destructive force. The book is valuable for those interested in the Stalinist era in the Soviet Union, those interested in radical regimes and political change, as well as those interested in better understanding current events in Europe. It will also be useful for the tough questions it poses about journalistic ethics.
A freewheeling, sharp-shooting indictment of a tech-besotted culture. With razor wit, Nicholas Carr cuts through Silicon Valley’s unsettlingly cheery vision of the technological future to ask a hard question: Have we been seduced by a lie? Gathering a decade’s worth of posts from his blog, Rough Type, as well as his seminal essays, Utopia Is Creepy is “Carr’s best hits for those who missed the last decade of his stream of thoughtful commentary about our love affair with technology and its effect on our relationships” (Richard Cytowic, New York Journal of Books). Carr draws on artists ranging from Walt Whitman to the Clash, while weaving in the latest findings from science and sociology. Carr’s favorite targets are those zealots who believe so fervently in computers and data that they abandon common sense. Cheap digital tools do not make us all the next Fellini or Dylan. Social networks, diverting as they may be, are not vehicles for self-enlightenment. And “likes” and retweets are not going to elevate political discourse. Utopia Is Creepy compels us to question the technological momentum that has trapped us in its flow. “Resistance is never futile,” argues Carr, and this book delivers the proof.
A 2021 Lambda Literary Award Finalist “A unique alien invasion story that focuses on the human and the myriad ways we see and don’t see our own world. Mesmerizing.” —Jeff VanderMeer A blend of searing social commentary and speculative fiction, Chana Porter’s fresh, pointed debut explores a strange new world in the wake of a benign alien invasion. Trina FastHorse Goldberg-Oneka is a fifty-year-old trans woman whose life is irreversibly altered in the wake of a gentle—but nonetheless world-changing—invasion by an alien entity called The Seep. Through The Seep, everything is connected. Capitalism falls, hierarchies and barriers are broken down; if something can be imagined, it is possible. Trina and her wife, Deeba, live blissfully under The Seep’s utopian influence—until Deeba begins to imagine what it might be like to be reborn as a baby, which will give her the chance at an even better life. Using Seeptech to make this dream a reality, Deeba moves on to a new existence, leaving Trina devastated. Heartbroken and deep into an alcoholic binge, Trina follows a lost boy she encounters, embarking on an unexpected quest. In her attempt to save him from The Seep, she will confront not only one of its most avid devotees, but the terrifying void that Deeba has left behind. A strange new elegy of love and loss, The Seep explores grief, alienation, and the ache of moving on.