With COVID-19 comes a heightened sense of everyday risk. How should a society manage, distribute, and conceive of it? As we cope with the lengthening effects of the global COVID-19 pandemic, considerations of everyday risk have been more pressing, and inescapable. In the past, everyone engaged in some degree of risky behaviour, from mundane realities like taking a shower or getting into a car to purposely thrill-seeking activities like rock-climbing or BASE jumping. Many activities that seemed high-risk, such as flying, were claimed basically safe. But risk was, and always has been, a fact of life. With new focus on the risks of even leaving the safety of our homes, it's time for a deeper consideration of risk itself. How do we manage and distribute risks? How do we predict uncertain outcomes? If risk can never be completely eliminated, can it perhaps be controlled? At the heart of these questions-which govern everything from waking up each day to the abstract mathematics of actuarial science-lie philosophical issues of life, death, and danger. Mortality is the event-horizon of daily risk. How should we conceive of it?

There are many ways to approach the subject of public space: the threats posed to it by surveillance and visual pollution; the joys it offers of stimulation and excitement, of anonymity and transformation; its importance to urban variety or democratic politics. But public space remains an evanescent and multidimensional concept that too often escapes scrutiny.

The essays in "Rites of Way: The Politics and Poetics of Public Space" open up multiple dimensions of the concept from architectural, political, philosophical, and technological points of view. There is some historical analysis here, but the contributors are more focused on the future of public space under conditions of growing urbanization and democratic confusion. The added interest offered by non-academic work--visual art, fiction, poetry, and drama--is in part an admission that this is a topic too important to be left only to theorists. It also makes an implicit argument for the crucial role that art, not just public art, plays in a thriving public realm.

Throughout this work contributors are guided by the conviction, not pious but steely, that healthy public space is one of the best, living parts of a just society. The paths of desire we follow in public trace and speak our convictions and needs, our interests and foibles. They are the vectors and walkways of the social, the public dimension of life lying at the heart of all politics.

This book is a must-have photographic portrait of Toronto, featuring 100 exquisitely reproduced panoramic images from one of Canada's greatest photographers of place.
For the last three years, acclaimed photographer Geoffrey James has stalked the parks and back streets of Canada's largest metropolis with his tripod and wide-angle panoramic camera, in search of the city's essence. Here is the Toronto we see but do not notice, captured in 100 exquisitely reproduced photographs, accompanied by a 4,000-word introduction from Mark Kingwell and extensive end notes from city historians and other noted experts.
Toronto is a beautiful object. It comes with a wide format, real cloth cover, and photographs that are beautifully scanned and reproduced on extra heavy art paper to bring out all their panoramic glory. This will be a much desired gift for Torontonians and lovers of good photography.

Anxiety about non-human intelligent machines is a longstanding theme of cultural production and consumption. Examples range from tales of golems and Frankenstein's monster to the evil overlord scenarios of contemporary film and television franchises: Star Trek, the Alien series, and the Terminator sequence, as well as Her, Black Mirror, Blade Runner, Ex Machina, and many other less mainstream cultural artifacts. The source of this anxiety is clear. Non-human conscious entities may turn out to be superior to any biological form of life, allowing a stride across human ambition in a moment dubbed "the Singularity" by AI insiders. This is the turning point when non-human entities advance and reproduce in a manner that surpasses and subjugates biological forms of intelligent life. Although today's artificial intelligences fall notably short of this level of sophistication, Mark Kingwell argues that we are already more than human in important ways, and likely to become more so as time goes on. In Singular Creatures Kingwell plumbs the depths of cultural and political meaning in the apparent transition to posthuman life. Our immersion in technology, now comprehensive to the point of invisibility, has altered forever what it means to be alive. The politics of posthumanism flow directly from our own situation, at once dependent on technology and afraid of its effects on current and future experiences. More than a century after playwright Karel Capek coined the word robot - rooted in the Czech robota, meaning "servitude" or "drudgery" - in his 1920 allegory about the alienation of forced labour leading to a violent workers' revolt, Capek's central question continues to haunt us. Can humans and their own creations co-exist in a new cyberflesh world, or is a struggle for superiority inevitable? Singular Creatures is an attempt at sketching the field before any deadly battle is joined.

Adventure is always escapist and often utopian, yet we find solidarity with others and Kafkaesque existential rabbit holes within the words we use to celebrate high-flying escapades. Even when adventures are small in the cosmic scope, the terminology of thrilling exploits promotes a life lived at a high pitch. This go-to glossary for the philosophical explorer delves into these contradictions and insights through more than five hundred terms, from A-OK to zoom. Semiotician Joshua Glenn sourced terms from Shakespeare, military and biker jargon, hip hop and surfer slang, survivalist and gamer subcultures, comic books, extreme sports, and beyond to ask questions about meaning and selfhood. This diverting survey, paired with copious illustrations by the acclaimed cartoonist Seth, is introduced by Mark Kingwell in a thought-provoking essay. The Adventurer's Glossary extends the entertaining and incisive critique found in the trio's previous books, The Idler's Glossary and The Wage Slave's Glossary. This third instalment turns its lens to the language of risk, excitement, and journeying into the unknown, taking readers on their own semantic adventure.

A lively and accessible discussion of how architecture functions in a complex world of obligation and responsibility, with a preface offering specific discussion of architecture during and after the COVID-19 pandemic. What are the special ethical obligations assumed by architects? Because their work creates the basic material conditions that make all other human activity possible, architects and their associates in building enjoy vast influence on how we all live, work, play, worship, and think. With this influence comes tremendous, and not always examined, responsibility. This book addresses the range of ethical issues that architects face, with a broad understanding of ethics. Beyond strictly professional duties - transparency, technical competence, fair trading - lie more profound issues that move into aesthetic, political, and existential realms. Does an architect have a duty to create art, if not always beautiful art? Should an architect feel obliged to serve a community and not just a client? Is justice a possible orientation for architectural practice? Is there such a thing as feeling compelled to "shelter being" in architectural work? By taking these usually abstract questions into the region of physical creation, the book attempts a reformulation of "architectural ethics" as a matter of deep reflection on the architect's role as both citizen and caretaker. Thinkers and makers discussed include Le Corbusier, Martin Heidegger, Lewis Mumford, Rem Koolhaas, Jane Jacobs, Arthur Danto, and John Rawls.

This book is about a widely shared desire: the desire among citizens for a vibrant and effective social discourse of legitimation. It therefore begins with the conviction that what political philosophy can provide citizens is not further theories of the good life but instead directions for talking about how to justify the choices they make--or, in brief, "just talking."

As part of the general trend away from the aridity of Kantian universalism in political philosophy, thinkers as diverse as Bruce Ackerman, Jurgen Habermas, Alasdair MacIntyre, and Richard Rorty have taken a "dialogic turn" that seeks to understand the determination of principles of justice as a cooperative task, achieved in some kind of social dialogue among real citizens. In one way or another, however, each of these different variations on the dialogic model fail to provide fully satisfactory answers, Mark Kingwell shows. Drawing on their strengths, he presents another model he calls "justice as civility," which makes original use of the popular literature on etiquette and work in sociolinguistics to develop a more adequate theory of dialogic justice.

A new perspective on a beloved cultural icon, its place in our history, and its meaning in the American imagination This elegantly written appreciation of the Empire State Building opens up the building's richness and importance as an icon of America. The book leads us through the facts surrounding the skyscraper's conception and construction, then enters into a provocative theoretical discussion of its function as an icon, its representation in pictures, literature, and film, and the implications of its iconic status as New York's most important architectural monument to ambition and optimism. The Empire State Building literally cannot be seen in its totality, from any perspective. And paradoxically, this building of unmistakable solidity has been made invisible by familiarity and reproduction through imagery. Mark Kingwell encourages us to look beneath the strong physical presence of the building, to become aware of its evolving layers of meaning, and to see how the building lives within a unique imaginative space in the landscape of the American consciousness. He offers new ways of understanding the Empire State Building in all its complexity and surprising insights into its special role as an American icon.

"True Nordic" presents a comprehensive look at more than nine decades of Nordic and Scandinavian aesthetic influence in Canadian craft, design and industrial production. The book offers a broad historical survey of Canadian-made ceramics, furniture, textiles and metalware inspired by the aesthetics of Denmark, Norway, Sweden, Finland and Estonia. The design culture and movements of the Nordic countries have been the most significant in the development of Canadian design sensibility since 1920. Scandinavian design resonated with Canadians and was viewed as appropriate for the realities of domesticity and modernizing life. Praised for its material sensitivity and regarded as both modern and humble, progressive but quiet, Scandinavian and Nordic design resonated with Canada's ongoing efforts to find a fitting stylistic and culturally appropriate language. "True Nordic" includes essays from George Baird, Rachel Gotlieb, Mark Kingwell and Michael Prokopow.