In the aftermath of the Vietnam War, a large portion of the population had become disenchanted with the American way of life that they did not feel they belonged to. While some openly revolted in the streets, others took to turning away from the mainstream and headed toward a new world. Utopian visions, manifesting themselves in the form of communes, were aimed at breaking the bonds of capitalism, big business, and the reigning oligarchy and were popping up throughout the country. The San Francisco Bay Area was the hotbed of these communes, and from the Height-Ashbury in San Francisco, east to Berkeley's protest hub at Sproul Plaza, and south to Oakland's Black Panther's communal households, this is an exploration of this unique cultural revolution of the 1960s and 1970s. The history and vision of communal living is investigated in a series of essays aimed at explaining just what these communes were, how lives were lived within them, and what their goals entailed.

Wherever there have been nuclear weapons and nuclear fission, there have also been cameras. Camera Atomica explores the intimate relationship between photography and nuclear events, to uncover how the camera lens has shaped public perceptions of the atomic age and its anxieties. Photographs have a crucial place in the representation of the atomic age and its anxieties. Published in collaboration with the Art Gallery of Ontario to coincide with a major exhibition there in 2014. Camera Atomica examines narratives beyond the "technological sublime" that dominates much nuclear photography, suppressing representations of the human form in favour of representations of B-52 bombers and mushroom clouds. The book proposes that the body is the site where the social environment interacts with the so-called "atomic road": uranium mining and processing, radiation research, nuclear reactor construction and operation, and weapons testing. Cameras have both recorded and - in certain instances - provided motivation for the production of nuclear events. Their histories and technological development are intimately intertwined. All photographs, including nuclear photographs, have the capability to function affectively by working on the emotions and fascinating audiences. Through a wide range of visual documentation, Camera Atomica raises questions such as: what has the role of photography been in underwriting a public image of the bomb and nuclear energy? Has the circulation of photographic images heightened or lessened anxieties, or done both at the same time? How should the different visual protocols of photography be understood?