馬修．柯林（Matthew Collin） 資深作家，長年為《Observer》、《Guardian》、《Daily Telegraph》、《Time Out》、《Wired》、《The Face》等報刊媒體撰寫流行文化、旅遊、音樂、科技與禁藥的相關文章。身兼《The Big Issue》副總編輯及《i-D》雜誌資深編輯顧問。 約翰．高德菲（John Godfrey） 協助此書的原始構想、研究和大綱起草。曾任《The Face》副總編輯，現任Channel 4的Eurotrash節目製作。曾與馬修．柯林合著《A Dedade of Ideas》。

馬修．柯林（Matthew Collin） 資深作家，長年為《Observer》、《Guardian》、《Daily Telegraph》、《Time Out》、《Wired》、《The Face》等報刊媒體撰寫流行文化、旅遊、音樂、科技與禁藥的相關文章。身兼《The Big Issue》副總編輯及《i-D》雜誌資深編輯顧問。 約翰．高德菲（John Godfrey） 協助此書的原始構想、研究和大綱起草。曾任《The Face》副總編輯，現任Channel 4的Eurotrash節目製作。曾與馬修．柯林合著《A Dedade of Ideas》。

在本週（一月九號至十五號， 2002）的《村聲》（Village Voice，紐約最重要的獨立週報）中，有一篇專文介紹美國對「快樂丸」（Ecstasy，在台灣多被譯為「搖頭丸」）做為心理醫療藥物使用的最新醫學實驗報導，其中再度將「快樂丸」的合法性爭議，再度搬上檯面。巧的是，博客來本週的重要推薦書之一，《迷幻異域：快樂丸與青年文化的故事》（Altered State: The Story of Ecstasy and Acid House），也是有關「快樂丸」被受爭議的歷史。 本書作者是馬修‧柯林（Matthew Collin）以及約翰‧高得菲（John Godfrey），兩位均是長年觀察英倫流行音樂文化的資深作家編輯：馬修的文章經常出現在Time Out、Wired、The Face，等著名尖端流行雜誌、更是i-D的資深編輯顧問；約翰則是The Fa...(展开全部)

In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.

In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.

This book ties together many ideas from the fields of anthropology and architecture. Rapoport methodically builds an argument for his hypothesis that "The different forms taken by dwellings are a complex phenomenon for which no single explanation will suffice." He supports his arguments with hundreds of examples drawn from the literature, as in the style of a review article. I ...(展开全部)

Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis....(展开全部)