Meaning
Works.

We live in an age that has never had more access to information — and never felt more confused. Drawing on neuroscience, evolutionary psychology, semiotics and cultural theory, Edward Rozzo argues that the rational, linear thinking we have been taught is precisely what limits us. The mind’s deepest capabilities lie elsewhere: in confusion, in storytelling, in the liberation of intuition, and in a new collaboration with artificial intelligence that augments rather than replaces human thought.

This is a book about what becomes possible when you stop looking for answers and start learning, once again, how to think.

Today we have fewer words to explain our feelings, and more and more words to vent our anger. Narrative Capital asks what that shift is doing to us.

The words and stories we use to explain ourselves are a kind of capital: accumulated over a lifetime, spent every day, and easily run down. When it runs out, we stop thinking forward. Drawing on semiotics, sociology and years of work with students and professionals, Edward Rozzo reflects on the many uses of language, and on how language can change our lives by changing our state of mind. He traces how spoken language shapes identity, persuasion and relationships, and how to rebuild the vocabulary we need to understand ourselves and others. A book about finding the words, and with them, the way forward.

Every morning we get dressed, and every morning we speak. Socks and shoes, rings and scarves, tattoos, hairstyles, make-up: we spend hours and a small fortune assembling a version of ourselves for the world, convinced we’re simply following our taste.

But taste is rarely where the choice begins. Behind every garment and gesture lie meanings, shared, inherited, borrowed, and often unnoticed, that decide for us. Wearing Meaning uncovers what those meanings are, why they pull so strongly, and how understanding them changes the way you choose what to wear and how you want to be seen.

The landscape does not bleed. And yet. In Marianne Boutrit’s photographs, the earth opens, folds, tears — and what emerges looks disturbingly like flesh. Wounds is a sustained encounter with a body of work that refuses easy classification: neither document nor abstraction, neither wound nor geology, but something suspended between them.

Edward Rozzo’s essay traces the visual and conceptual logic of Boutrit’s practice, asking what it means to find injury in landscape — and what that says about the eye doing the finding.

While politics was reshaping the labor force and economics was reshaping Italy’s industrial landscape, Edward Rozzo was looking at something else: the forms and colors that others walked past.

For more than fifteen years he photographed inside some of Italy’s leading companies: Olivetti, Fiat, Ferrari, Armani, Italtel, Alitalia, IBM Italia, Dow Chemical Italia and many more. Machines and industrial sites designed for safety or function turned out to hold lines and colors that went far beyond their purpose. His images find excitement in raw materials, in technology, and in the personal expertise that makes an industrial process work.

Many of the photographs are accompanied by a short text: where he was, what he saw, what went wrong, and what the moment made him think. Looking inside industry, the book ends up looking inside ourselves.