Pay in installments of $39.25 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Jul 27 - Aug 1
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
NEUTRAL MILK HOTEL - THE COLLECTED WORKS OF NEUTRAL MILK HOTEL (BOX SET)4xLP + 2x10" + 3x7" VINYL BOX SET w POSTERS & POSTCARDS and OTHER EPHEMERA. "Neutral Milk Hotel announce The Collected Works of Neutral Milk Hotel, a box set out February 24th on Merge, and which includes the first official release of the 2014 rendition of Little Birds. In 2011, bandleader Jeff Mangum collected nearly all of the bands recorded output in a limited edition box set, which he self released under Neutral Milk Hotel Records, a small
4xLP + 2x10" + 3x7" VINYL BOX SET w/ POSTERS & POSTCARDS and OTHER EPHEMERA.
"Neutral Milk Hotel announce The Collected Works of Neutral Milk Hotel, a box set out February 24th on Merge, and which includes the first official release of the 2014 rendition of “Little Birds.” In 2011, bandleader Jeff Mangum collected nearly all of the band’s recorded output in a limited-edition box set, which he self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother. The expanded edition of The Collected Works of Neutral Milk Hotel on Merge, the first & only edition widely available to record stores, includes both of their iconic full-length albums, In the Aeroplane Over the Sea (in gatefold sleeve) & an expanded double LP edition of On Avery Island. Also found in this set, a 12" picture disc of Jeff Mangum's famous Live at Jittery Joe's performance, as well as two 10-inch records (an extended version of the Everything Is EP w/ new art & a collection of acoustic demos from 1992-1995 titled Ferris Wheel on Fire). Then there are the 7"s for the previously mentioned Little Birds, an updated edition of the “Holland, 1945” / “Engine” 7" & "You've Passed / Where You'll Find Me Now" single. As for the non-music collector goodies, the set also includes two 24" x 24" posters & a 2-sided postcard not available anywhere else. The whole set is assembled in a 12" two-piece telescoping casewrapped box (A slicker, larger box than the original 2011 version). Excluding both full-length albums, everything else included is exclusive to the box set & not available as a standalone item.The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996’s On Avery Island and 1998’s In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it — no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called “zanzithophone” and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility.
The remastered 1994 7” Everything Is appears on 10” vinyl as the extended EP that Mangum always envisioned, adding a few extra songs from the period. Newly added to Everything Is, “Unborn” came from a tape that Mangum made for Bill Doss (Olivia Tremor Control) while living in Athens as they traded cassettes like audio letters, filled with songs, field recordings, and conversation. These first unvarnished Neutral Milk Hotel recordings tell the story of Mangum’s genesis as an artist with a subcultural sound and subcultural values. Also included here is a trio of 7” singles, one of which features early versions of the On Avery Island songs “You’ve Passed” and “Where You’ll Find Me Now” from 1994, recorded on four-track by Mangum on his own. Mangum was initially going to record the whole album at home on a four-track but soon realized that he would need the help of a friend, The Apples in Stereo’s Robert Schneider, to produce. Mangum gave Schenider this cassette (later rediscovered in a shoebox) in advance of those sessions.
The 10” EP Ferris Wheel on Fire, primarily recorded with Schneider in 2010, collects stray songs that Mangum had written many years prior but never set to tape. (The exception is “My Dream Girl Don’t Exist,” recorded live at Aquarius Records in San Francisco in the ‘90s.) In the box set, Ferris Wheel is accompanied by a card denoting the year that each song was written, helping to illustrate how the Neutral Milk Hotel catalog took shape. Ferris Wheel’s “Oh Sister,” for instance, was written on the same day as Aeroplane’s “Oh Comely.” There’s a sense of music building in a world in which words, phrases, images, and chord progressions echo and recur.
A final component of the box portrays that process viscerally: Live at Jittery Joe’s, the live album recorded in 1997 that Mangum first released in 2001. It captures Neutral Milk Hotel at its most profoundly pivotal moment. After the release of On Avery Island in 1996 and a subsequent tour, Mangum and his bandmates — Julian Koster, Jeremy Barnes, and Scott Spillane — found themselves in New York’s West Village where, in October of that year, Mangum wrote “Two-Headed Boy.” The band was about to get kicked out of their apartment, and soon headed south to regroup with friends in Athens. By that point, the scene was in bloom. Olivia Tremor Control had released its debut LP; Elf Power was playing. Athens was an easy and fruitful place to live and create. Neutral Milk Hotel happily joined in, moving into a beautiful house on Grady Street where Mangum continued to write In the Aeroplane Over the Sea from January to May of 1997.
If the live recordings, alternate takes, and time stamps of this box set illustrate the process of Neutral Milk Hotel’s world coming into focus, it’s fitting. In a recent conversation, Mangum reflected on a question he’s gotten often: Why didn’t Neutral Milk ever make a video? But, he clarified, the band made millions of videos—all in people’s minds. Everybody has their own Neutral Milk Hotel film in their head. For an artist who took root in the liberating aesthetic of underground tape-trading and DIY punk—whose sense of what music can be was permanently altered by the Minutemen’s non formulaic structures, by their mix of the political and the impressionistic; who announced, at the start of his catalog, “I’m finally breaking free from fear”—it’s an invitation to hear the music, and then become a part of it."
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.2 ★★★★★
Based on 6 reviews
Sort
Product Reviews
★★★★★ 5
GREAT
Format: Paperback
even though i didn't finish 10% of it i still know that its great and i learned new scripting skills so thank you so much roblox for making this for small developers.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 6, 2022
★★★★★ 5
Helpful to a beginner...
Format: Paperback
It is very nice to read and the book has a good design. I read it and I just learned some couple things. Thanks Roblox!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 15, 2022
★★★★★ 5
Great book
Format: Paperback
Got this for my son and helped him finish coding his game although it takes some time to learn it I definitely recommend this book
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 21, 2024
★★★★★ 1
Out of date and just plain not good instruction
Format: Kindle
This has problems that I have seen from many non-educators when they write an instructional book (so I hope she is not an actual educator). The book makes leaps of faith of knowledge and has a belief that they have shown you well enough to do one thing (which it doesn't) and that you can extrapulate from that knowledge to do something completely different. They makes these leaps of faith in the first couple hours, when people are just getting used to coding in this language.
This book also fails to even tell you what different parts of the code are doing, so that you can make those leaps of knowledge. I also find this happens a lot when people write coding books. They know how to code, so they figure if they just show you parts of a code you will figure out why it did what it did, instead of explaining to you what different parts of code actually do when you put them together.
I made it almost through hour two before I gave up trying to decipher all the nonsense that was written in this book. In hour two they have you make a sphere, but never actually show you how to make the sphere, but then start telling you how to create dialog for the sphere. Apparently in hour 1, even though it was never explained, I was supposed to understand how to make a lava field with objects.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 11, 2024
★★★★★ 5
Must-read book for everyone (not just Ai proponents)
Format: Paperback
I realize I say this about every AI book I read, but this one really is the best (so far), and most important in my view."Atlas of AI" by Kate Crawford is a well-researched work that should appeal to AI enthusiasts and opponents alike; not because it flatters either side, but because it challenges both to think beyond the usual narratives.
Whether you see Ai as a revolutionary tool for progress or a dystopian force of unchecked power, there’s no denying that it it is shaped by real-world systems of labor, industry, and politics.This book makes it clear: Ai is not just about algorithms and efficiency. It is about power: who wields it, who profits from it, and who is left to bear its costs.
For those who celebrate Ai’s potential (like me), Atlas of AI offers a sobering look at the material and ethical realities behind the inertia and hype.For those who critique AI as a damaging or dystopian force, the book provides a well-researched (eye-opening) foundation for those concerns.What makes it especially compelling is that it doesn’t fall into the trap of alarmism OR blind optimism.
Instead, Crawford takes us on a deep, methodical journey through the infrastructures that sustain artificial intelligence, revealing the hidden costs (labor, environmental, political) that come with EVERY so-called innovation.**Deconstructing the Myths of AI**One of the book’s greatest strengths is its ability to cut through the persistent myths surrounding artificial intelligence. Crawford systematically dismantles the notion that AI is a purely immaterial, frictionless technology.
She examines the vast mining operations necessary to produce hardware, the exploitative labor practices behind data annotation, and the enormous energy demands of AI training model. Ai, in her analysis, is not an autonomous or inevitable force—it is an industrial system deeply intertwined with capitalism, surveillance, and environmental degradation (much of her research applies to Big Tech, and not just Ai).
This perspective is crucial in an era where Ai is often presented as a revolutionary technology that exists outside of history and politics.Crawford makes it clear that Ai is not “just math” but a political tool wielded by those in power, often reinforcing existing inequalities.
The Ethics of Extraction and Control:
One of Crawford's most compelling arguments is the framing of AI as an extractive industry: one that harvests resources, labor, and data in much the same way as colonial enterprises have in the past.The book traces how Ai development is dependent on resource-intensive practices, from lithium mining for hardware to the invisible armies of low-wage workers tasked with cleaning and labeling data.
Crawford argues Ai is a system built on the extraction of value from the most vulnerable populations, whether they be gig workers, Amazon's "Mechanical Turk" laborers, or the communities living in the shadow of server farms that consume enormous amounts of water and energy.Crawfors cites numerous examples of how corporations like Google and Amazon, and even the government, skirt the system to save on taxes, while promising better futures to the resource-rich communities they exploit.
The theme of extraction extends beyond the physical to the digital realm.Crawford shows how personal data is commodified under the guise of “training AI,” reinforcing the asymmetrical relationship between those who generate data and those who profit from it.The book’s critique aligns with broader concerns about surveillance capitalism, demonstrating how Ai is often wielded as a means of control rather than liberation. (I learned some sad truths about local community policing and Ai)
AI and the Politics of Classification
Crawford explores how classification systems, often presented as objective/neutral, are deeply embedded with biases. Ai systems are trained on datasets shaped by human prejudices, yet are frequently deployed as infallible arbiters of truth. Crawford examines how facial recognition, predictive policing, and automated hiring systems encode and reinforce racial, gendered, and socioeconomic biases, often amplifying systemic discrimination.
This analysis is particularly relevant in today’s discussions on AI ethics. Crawford’s work underscores that Ai bias is not simply a technical glitch to be fixed, but rather a feature of the broader political and economic structures that Ai is designed to serve.
A Necessary and Timely Intervention
For those who have followed debates on Ai ethics, surveillance capitalism, and data justice, Atlas of AI provides a well-researched and compelling synthesis of these concerns, free from the noise we commonly hear on social media outlets. It is particularly valuable in challenging the mainstream, corporate-driven narratives that portray Ai as an inevitable and benign technological force.
Crawford’s writing is insightful, well-documented, and accessible, making complex ideas understandable without sacrificing depth. While the book is critical in tone, it does not merely scold Ai developers; rather, it offers a crucial intervention in ongoing discussions about how Ai is developed, deployed, and governed.The book had a surprisingly anti-capitalist/anti-technocratic tone, that inspired me to continue learning/aligning under the anti-fascist flag so many of us wield.
For artists, researchers, and technologists (especially those working at the intersection of Ai and creative expression) Atlas of Ai serves as a stark and vital reminder that technology is never neutral. It invites us to think critically about the systems we engage with and the ethical implications of our participation in Ai-driven ecosystems (and really, all major technologies).
Atlas of AI is an essential read for anyone interested in understanding the broader implications of artificial intelligence beyond the hype. It moves beyond discussions of algorithms and model accuracy to examine the power structures that shape Ai’s impact on society. By reframing AI as a material and political phenomenon rather than a disembodied technological marvel, Crawford provides a necessary course-correction to the dominant narratives surrounding Ai.
This book is not just for AI skeptics but for anyone who wants to engage in a deeper, more nuanced conversation about the technology shaping our present and future. If we are to meaningfully confront the challenges AI presents, we need more books that challenge us to think critically, demand accountability, and advocate for more just and equitable technological futures.
For those of us who engage with AI,whether as artists, researchers, developers, or critics, Atlas of AI should serve as a wake-up call. Too often, Ai artists defend the technology out of pride or personal investment, dismissing valid ethical concerns as fear-mongering. On the other side, anti-AI voices often resist engagement with nuance, preferring to frame Ai as an existential threat rather than a tool shaped by human systems of power. Both of these stances miss the point. Crawford makes it clear that the real battle isn’t Ai vs. artists or progress vs. tradition, it’s about who controls the technology, who benefits from it, and who is left to suffer the consequences. If we are serious about the future of art, technology, and creative autonomy, we must move beyond our egos and engage critically with the systems that shape Ai. This book gives us all a foundation to unify under, not in opposition to Ai itself, but in opposition to the unchecked power structures that exploit it and us.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 6, 2025
recommand products
Manicure Kit Valentine Gift For Teacher- Manicure Set, Nail Clippers Kit, 7 Pcs Manicure And Pedicure Kit, Green Nail Care Kit V
12.65
Fighting Irish Formation
116.40
Buddha Polonnaruwa
116.40
Giant Peaks
116.40
6 Pcs Scrunchies And Hair Accessories: Chiffon Floral Bowknot Ponytail Holders, Soft Elastic Hair Ribbons And Bunny Ear Ties For
16.44