Flight 785 is bound for London and Brussels, but its passengers are destined to arrive at an unexpected destination. Theirs is a journey that will continue until they each find their true home and, in the process, uncover their innermost being.
Written by Naomi Gladish Smith, The Arrivals will intrigue readers from all walks of life and faiths and provoke discussion. We follow a small group of travelers---a husband and wife on their way to Ireland, a young woman beginning a fellowship at a prestigious British university, business people on their way to various conferences and meetings in Brussels, a minister coming to terms with his wife's desertion and his own fading faith, a small boy going to meet his mother in London---as they slowly unravel the mystery of the afterlife and learn that home is truly where the heart is.
While the poems in Steve Straight’'s new collection lead the reader "into the dark forest of memory / or onto the carnival ride of hypothesis, / or even right off the cliff of surprise," they maintain a sure course through the din and distraction of modern life. Bits of news from the natural sciences, chance encounters, and even convicted felon and crafting queen Martha Stewart all fall under Straight’s observant eye. The result is a collection of conversational poems that lend a sense of wonder to the commonplace.
lbert Einstein said, “Not everything that can be counted counts, and not everything that counts can be counted.” It is in this vein that Sholeh Wolpé’s mesmerizing memoir in verse unfolds. In this lyrical and candid work, her fifth collection of poems, Wolpé invokes the abacus as an instrument of remembering. Through different countries and cultures, she carries us bead by bead on a journey of loss and triumph, love and exile. In the end, the tally is insight, not numbers, and we arrive at a place where nothing is too small for gratitude.
A Slate Best Book of 2008
Included in Pushcart Prize XXXIV: Best of the Small Presses
Like a voyage to the Portuguese islands of the title, the poems in Azores arrive at their striking and hard-won destinations over the often-treacherous waters of experience—a man mourns the fact that he cannot not mourn, a father warns his daughter about harsh contingency, an unnamed visitor violently disrupts a quiet domestic scene. The ever-present and uncomfortable realities of envy, lust, and mortality haunt the book from poem to poem. Yezzi does not shy away from frank assessments of desire and human failing, the persistent difficulties of which are relieved periodically by a cautious optimism and even joy. Whether the poem’s backdrop is volcanic islands in the Mid-Atlantic or Manhattan Island at sunset, Yezzi examines the forces of change in the natural world, as w hether mundane or startlingly intimate. By turns plainspoken, caustic, evocative, and wry, these poems are, in matters of form, well-wrought and musical and, in matters of the heart, clear-eyed and always richly human.
Winner, 2015 Colorado Book Award
Finalist, 2015 National Book Critics Circle Award
In the years leading up to his recent passing, Alabama poet Jake Adam York set out on a journey to elegize the 126 martyrs of the civil rights movement, murdered in the years between 1954 and 1968. Abide is the stunning follow-up to York’s earlier volumes, a memorial in verse for those fallen. From Birmingham to Okemah, Memphis to Houston, York’s poems both mourn and inspire in their quest for justice, ownership, and understanding.
Within are anthems to John Earl Reese, a sixteen-year-old shot by Klansmen through the window of a café in Mayflower, Texas, where he was dancing in 1955; to victims lynched on the Oklahoma prairies; to the four children who perished in the Birmingham church bombing of 1963; and to families who saw the white hoods of the Klan illuminated by burning crosses. Juxtaposed with these horrors are more loving images of the South: the aroma of greens simmering on the stove, “tornado-strong” houses built by loved ones long gone, and the power of rivers “dark as roux.”
Throughout these lush narratives, York resurrects the ghosts of Orpheus, Sun Ra, Howlin’ Wolf, Thelonious Monk, Woody Guthrie, and more, summoning blues, jazz, hip-hop, and folk musicians for performances of their “liberation music” that give special meaning to the tales of the dead.
In the same moment that Abide memorializes the fallen, it also raises the ethical questions faced by York during this, his life’s work: What does it mean to elegize? What does it mean to elegize martyrs? What does it mean to disturb the symmetries of the South’s racial politics or its racial poetics?
A bittersweet elegy for the poet himself, Abide is as subtle and inviting as the whisper of a record sleeve, the gasp of the record needle, beckoning us to heed our history.
This collection of prefaces, originally written for the 1909 multi-volume New York Edition of Henry James’s fiction, first appeared in book form in 1934 with an introduction by poet and critic R. P. Blackmur. In his prefaces, James tackles the great problems of fiction writing—character, plot, point of view, inspiration—and explains how he came to write novels such as The Portrait of a Lady and The American. As Blackmur puts it, “criticism has never been more ambitious, nor more useful.”
The latest edition of this influential work includes a foreword by bestselling author Colm Tóibín, whose critically acclaimed novel The Master is told from the point of view of Henry James. As a guide not only to James’s inspiration and execution, but also to his frustrations and triumphs, this volume will be valuable both to students of James’s fiction and to aspiring writers.
Edgar Allan Poe is perhaps America’s most famous writer. Adapted many times to the stage and screen and an inspiration to countless illustrators, graphic novelists, and musicians, his tales and poems remain a singular presence in popular culture. (His most famous poem inspired the name of the NFL’s Baltimore Ravens.) And then there is the matter of Poe’s literary influence. “How many things come out of Poe?” Jorge Luis Borges once asked. And yet Poe remains misunderstood, his works easily confused with the legend of a troubled genius. Now, in this annotated edition of selected tales and poems, Kevin J. Hayes debunks the Poe myth, enables a larger appreciation of Poe’s career and varied achievements, and investigates his weird afterlives.
With color illustrations and photographs throughout, The Annotated Poe contains in-depth notes placed conveniently alongside the tales and poems to elucidate Poe’s sources, obscure words and passages, and literary, biographical, and historical allusions. Like Poe’s own marginalia, Hayes’s marginal notes accommodate “multitudinous opinion”: he explains his own views and interpretations as well as those of other writers and critics, including Poe himself. In his Foreword, William Giraldi provides a spirited introduction to the writer who produced such indelible masterpieces as “The Fall of the House of Usher,” “The Murders in the Rue Morgue,” and “The Black Cat.”
The Annotated Poe offers much for both the professional and the general reader—but it will be especially prized by those who think of themselves as Poe aficionados.
As German-language literature turned in the mid-nineteenth century to the depiction of the profane, sensual world, a corresponding anxiety emerged about the terms of that depiction—with consequences not only for realist poetics but also for the conception of the material world itself. At the Limit of the Obscene examines the roots and repercussions of this anxiety in German realist and postrealist literature. Through analyses of works by Adalbert Stifter, Gustav Freytag, Theodor Fontane, Arno Holz, Gottfried Benn, and Franz Kafka, Erica Weitzman shows how German realism’s conflicted representations of the material world lead to an idea of the obscene as an excess of sensual appearance beyond human meaning: the obverse of the anthropocentric worldview that German realism both propagates and pushes to its crisis. At the Limit of the Obscene thus brings to light the troubled and troubling ontology underlying German realism, at the same time demonstrating how its works continue to shape our ideas about representability, alterity, and the relationship of human beings to the non-human well into the present day.
Armed Ambiguity is a fascinating examination of the tropes of the woman warrior constructed by print culture—including press reports, novels, dramatic works, and lyrical texts—during the decades-long conflict in Europe around 1800.
In it, Julie Koser sheds new light on how women’s bodies became a battleground for competing social, cultural, and political agendas in one of the most pivotal periods of modern history. She traces the women warriors in this work as reflections of the social and political climate in German-speaking lands, and she reveals how literary texts and cultural artifacts that highlight women’s armed insurrection perpetuated the false dichotomy of "public" versus "private" spheres along a gendered fault line. Koser illuminates how reactionary visions of "ideal femininity" competed with subversive fantasies of new femininities in the ideological battle being waged over the restructuring of German society.
Archaeologies of Modernity explores the shift from the powerful tradition of literary forms of Bildung—the education of the individual as the self—to the visual forms of “Bildung” (from Bild) that characterize German modernism and the European avant-garde. Interrelated chapters examine the work of Franz Kafka, Jean/Hans Arp, Walter Benjamin, and Carl Einstein, and of artists such as Oskar Kokoschka or Kurt Schwitters, in the light of the surge of an autoformation (Bildung) of verbal and visual images at the core of expressionist and surrealist aesthetics and the art that followed. In this first scholarly focus on modernist avant-garde Bildung in its entwinement of conceptual modernity with forms of the archaic, Rumold resituates the significance of the poet and art theorist Einstein and his work on the language of primitivism and the visual imagination. Archaeologies of Modernity is a major reconsideration of the conception of the modernist project and will be of interest to scholars across the disciplines.
"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas."
Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them in thirty-six categories with descriptive rubrics such as "Fashion," "Boredom," "Dream City," "Photography," "Catacombs," "Advertising," "Prostitution," "Baudelaire," and "Theory of Progress." His central preoccupation is what he calls the commodification of things--a process in which he locates the decisive shift to the modern age.
The Arcades Project is Benjamin's effort to represent and to critique the bourgeois experience of nineteenth-century history, and, in so doing, to liberate the suppressed "true history" that underlay the ideological mask. In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.
A powerful work by the heralded writer, this collection is a touchstone event in German literature of the post-war era.
On April 8, 1945, several American bomber squadrons were informed that their German targets were temporarily unavailable due to cloud cover. As it was too late to turn back, the assembled ordnance of more than two hundred bombers was diverted to nearby Halberstadt. A mid-sized cathedral town of no particular industrial or strategic importance, Halberstadt was almost totally destroyed, and a then-thirteen-year-old Alexander Kluge watched his town burn to the ground.
Spanning the period from the late 1930s to World War II, this historical novel dramatizes antifascist resistance and the rise and fall of proletarian political parties in Europe. Living in Berlin in 1937, the unnamed narrator and his peers—sixteen- and seventeen-year-old working-class students—seek ways to express their hatred for the Nazi regime. They meet in museums and galleries, and in their discussions they explore the affinity between political resistance and art, the connection at the heart of Weiss’s novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The novel includes extended meditations on paintings, sculpture, and literature. Moving from the Berlin underground to the front lines of the Spanish Civil War and on to other parts of Europe, the story teems with characters, almost all of whom are based on historical figures. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.
One of Norway’s most celebrated literary figures of the nineteenth century, Henrik Wergeland worked tirelessly for the civil rights of Jews in Norway. He used the words and structure of his poetry to enliven the ideals of truth, freedom, and equality. This translated volume, containing several of Wergeland’s most prominent poems, beautifully encapsulates the compelling force of his message, allowing its enduring influence to benefit a wider contemporary audience.
In contemporary Norwegian fiction Tomas Espedal’s work stands out as uniquely personal; it can be difficult to separate the fiction from Espedal’s own experiences. In that vein, his novel Against Art is not just the story of a boy growing up to be a writer, but it is also the story of writing. Specifically, it is about the profession of writing—the routines, responsibility, and obstacles. Yet, Against Art is also about being a father, a son, and a grandson; about a family and a family’s tales, and about how preceding generations mark their successors. It is at once about choices and changes, about motion and rest, about moving to a new place, and about living.
Blending historical fact and classical myth, the author of Zorba the Greek and The Last Temptation of Christ transports the reader 3,000 years into the past, to a pivotal point in history: the final days before the ancient kingdom of Minoan Crete is to be conquered and supplanted by the emerging city-state of Athens. Translated by Theodora Vasils and Themi Vasils.
The familiar figures who peopled that ancient world—King Minos, Theseus and Ariadne, the Minotaur, Diadalos and Ikaros—fill the pages of this novel with lifelike immediacy.
Written originally for an Athenian youth periodical, At the Palaces of Knossos functions on several levels. Fundamentally, it is a gripping and vivid adventure story, recounted by one of this century’s greatest storytellers, and peopled with freshly interpreted figures of classical Greek mythology. We see a new vision of the Minotaur, portrayed here as a bloated and sickly green monster, as much to be pitied as dreaded. And we see a grief-stricken and embittered Diadalos stomping on the homemade wax wings that have caused the drowning of his son, Ikaros.
On another level, At the Palaces of Knossos is an allegory of history, showing the supplanting of a primitive culture by a more modern civilization. Shifting the setting back and forth from Crete to Athens, Kazantzakis contrasts the languid, decaying life of the court of King Minos with the youth and vigor of the newly emerging Athens.
Protected by bronze swords, by ancient magic and ritual, and by ferocious-but-no-longer-invincible monsters, the kingdom of Crete represents the world that must perish if classical Greek civilization is to emerge into its golden age of reason and science. In the cataclysmic final scene in which the Minotaur is killed and King Minos’s sumptuous palace burned, Kazantzakis dramatizes the death of the Bronze Age, with its monsters and totems, and the birth of the Age of Iron.
Although many of the practical and intellectual traditions that make up modern science date back centuries, the category of “science” itself is a relative novelty. In the early eighteenth century, the modern German word that would later mean “science,” naturwissenschaft, was not even included in dictionaries. By 1850, however, the term was in use everywhere. Acolytes of Nature follows the emergence of this important new category within German-speaking Europe, tracing its rise from an insignificant eighteenth-century neologism to a defining rallying cry of modern German culture.
Today’s notion of a unified natural science has been deemed an invention of the mid-nineteenth century. Yet what Denise Phillips reveals here is that the idea of naturwissenschaft acquired a prominent place in German public life several decades earlier. Phillips uncovers the evolving outlines of the category of natural science and examines why Germans of varied social station and intellectual commitments came to find this label useful. An expanding education system, an increasingly vibrant consumer culture and urban social life, the early stages of industrialization, and the emergence of a liberal political movement all fundamentally altered the world in which educated Germans lived, and also reshaped the way they classified knowledge.
Alexander Dallas Bache (1806–1867) was one of the leaders of American science in the nineteenth century. Driven by a vision of science as a key component of an integrated U.S. nation-state, he guided the nascent American Association for the Advancement of Science and also led what was at that point the nation’s largest scientific enterprise, the U.S. Coast Survey. In this analytical biography, Axel Jansen explains and explores Bache’s efforts to build and shape public institutions as aids to his goal of creating a national foundation for a shared culture—efforts that culminated in his work during the Civil War as one of the founders of the National Academy of Sciences, which he saw as a key symbol of the continued viability of a unified American nation.
This is a new translation, with introduction, commentary, and an explanatory glossary.
"Sachs's translation and commentary rescue Aristotle's text from the rigid, pedantic, and misleading versions that have until now obscured his thought. Thanks to Sachs's superb guidance, the Physics comes alive as a profound dialectical inquiry whose insights into the enduring questions about nature, cause, change, time, and the 'infinite' are still pertinent today. Using such guided studies in class has been exhilarating both for myself and my students." ––Leon R. Kass, The Committee on Social Thought, University of Chicago
Aristotle’s Physics is the only complete and coherent book we have from the ancient world in which a thinker of the first rank seeks to say something about nature as a whole. For centuries, Aristotle’s inquiry into the causes and conditions of motion and rest dominated science and philosophy. To understand the intellectual assumptions of a powerful world view—and the roots of the Scientific Revolution—reading Aristotle is critical. Yet existing translations of Aristotle’s Physics have made it difficult to understand either Aristotle’s originality or the lasting value of his work.
In this volume in the Masterworks of Discovery series, Joe Sachs provides a new plain-spoken English translation of all of Aristotle’s classic treatise and accompanies it with a long interpretive introduction, a running explication of the text, and a helpful glossary. He succeeds brilliantly in fulfilling the aim of this innovative series: to give the general reader the tools to read and understand a masterwork of scientific discovery.
How did Albert Einstein's ideas shape the imaginations of twentieth-century artists and writers? Are there national differences between styles of scientific research? By what mechanisms is progress in science achieved despite the enormous diversity of individual, often conflicting, efforts?
These are just a few of the questions posed in The Advancement of Science, and Its Burdens. Gerald Holton, one of the century's leading historians of science, continues his analysis of how modern science works and how it influences our world, with particular emphasis on the role of the thematic elements--those often unconscious presuppositions that guide scientific work to success or failure. Many of the conclusions emerge from the author's extensive study of the contributions of Albert Einstein. Indeed, Holton's new introduction for this edition, "Einstein and the Cultural Roots of Modern Science," demonstrates that Einstein's daring main pursuit, the discovery of unity among seemingly disparate aspects of physics, was psychologically supported by a surprising ally: the high literary works in which he immersed himself, above all Goethe's. This case study alone may well be a classic example for studying the interaction of science and culture.
Tropical Africa was one of the last regions of the world to experience formal European colonialism, a process that coincided with the advent of a range of new scientific specialties and research methods. Africa as a Living Laboratory is a far-reaching study of the thorny relationship between imperialism and the role of scientific expertise—environmental, medical, racial, and anthropological—in the colonization of British Africa.
A key source for Helen Tilley’s analysis is the African Research Survey, a project undertaken in the 1930s to explore how modern science was being applied to African problems. This project both embraced and recommended an interdisciplinary approach to research on Africa that, Tilley argues, underscored the heterogeneity of African environments and the interrelations among the problems being studied. While the aim of British colonialists was unquestionably to transform and modernize Africa, their efforts, Tilley contends, were often unexpectedly subverted by scientific concerns with the local and vernacular. Meticulously researched and gracefully argued, Africa as a Living Laboratory transforms our understanding of imperial history, colonial development, and the role science played in both.
What we don’t know can hurt us—and does so every day. Climate change, health care policy, weapons of mass destruction, an aging infrastructure, stem cell research, endangered species, space exploration—all affect our lives as citizens and human beings in practical and profound ways. But unless we understand the science behind these issues, we cannot make reasonable decisions—and worse, we are susceptible to propaganda cloaked in scientific rhetoric.
To convey the facts, this book suggests, scientists must take a more active role in making their work accessible to the media, and thus to the public. In Am I Making Myself Clear? Cornelia Dean, a distinguished science editor and reporter, urges scientists to overcome their institutional reticence and let their voices be heard beyond the forum of scholarly publication. By offering useful hints for improving their interactions with policymakers, the public, and her fellow journalists, Dean aims to change the attitude of scientists who scorn the mass media as an arena where important work is too often misrepresented or hyped. Even more important, she seeks to convince them of the value and urgency of communicating to the public.
Am I Making Myself Clear? shows scientists how to speak to the public, handle the media, and describe their work to a lay audience on paper, online, and over the airwaves. It is a book that will improve the tone and content of debate over critical issues and will serve the interests of science and society.
The great mathematician Archimedes, a Sicilian Greek whose machines defended Syracuse against the Romans during the Second Punic War, was killed by a Roman after the city fell, yet it is largely Roman sources, and Greek texts aimed at Roman audiences, that preserve the stories about him. Archimedes' story, Mary Jaeger argues, thus becomes a locus where writers explore the intersection of Greek and Roman culture, and as such it plays an important role in Roman self-definition. Jaeger uses the biography of Archimedes as a hermeneutic tool, providing insight into the construction of the traditional historical narrative about the Roman conquest of the Greek world and the Greek cultural invasion of Rome.
By breaking down the narrative of Archimedes' life and examining how the various anecdotes that comprise it are embedded in their contexts, the book offers fresh readings of passages from both well-known and less-studied authors, including Polybius, Cicero, Livy, Vitruvius, Plutarch, Silius Italicus, Valerius Maximus, Johannes Tzetzes, and Petrarch.
"An absolutely wonderful book on a truly original and important topic. As Jaeger explores neglected texts that together tell an important story about the Romans' views of empire and their relationship to Greek cultural accomplishments, so she has written an important new chapter in the history of science. A genuine pleasure to read, from first page to last."
---Andrew Feldherr, Associate Professor of Classics, Princeton University
"This elegantly written and convincingly argued project analyzes Archimedes as a vehicle for reception of the Classics, as a figure for loss and recovery of cultural memory, and as a metaphorical representation of the development of Roman identity. Jaeger's fastening on the still relatively obscure figure of the greatest ancient mathematician as a way of understanding cultural liminality in the ancient world is nothing short of a stroke of genius."
---Christina S. Kraus, Professor and Chair of Classics, Yale University
"Archimedes and the Roman Imagination forms a useful addition to our understanding of Roman culture as well as of the reception of science in antiquity. It will make a genuine contribution to the discipline, not only in terms of its original interpretative claims but also as a fascinating example of how we may follow the cultural reception of historical figures."
---Reviel Netz, Professor of Classics, Stanford University
Cover art: Benjamin West. Cicero Discovering the Tomb of Archimedes. Yale University Art Gallery. John Hill Morgan, B.A. 1893, LL.B. 1898, M.A. (Hon.) 1929, Fund.
An engrossing origin story for the personal computer—showing how the Apple II’s software helped a machine transcend from hobbyists’ plaything to essential home appliance.
Skip the iPhone, the iPod, and the Macintosh. If you want to understand how Apple Inc. became an industry behemoth, look no further than the 1977 Apple II. Designed by the brilliant engineer Steve Wozniak and hustled into the marketplace by his Apple cofounder Steve Jobs, the Apple II became one of the most prominent personal computers of this dawning industry.
The Apple II was a versatile piece of hardware, but its most compelling story isn’t found in the feat of its engineering, the personalities of Apple’s founders, or the way it set the stage for the company’s multibillion-dollar future. Instead, historian Laine Nooney shows, what made the Apple II iconic was its software. In software, we discover the material reasons people bought computers. Not to hack, but to play. Not to code, but to calculate. Not to program, but to print. The story of personal computing in the United States is not about the evolution of hackers—it’s about the rise of everyday users.
Recounting a constellation of software creation stories, Nooney offers a new understanding of how the hobbyists’ microcomputers of the 1970s became the personal computer we know today. From iconic software products like VisiCalc and The Print Shop to historic games like Mystery House and Snooper Troops to long-forgotten disk-cracking utilities, The Apple II Age offers an unprecedented look at the people, the industry, and the money that built the microcomputing milieu—and why so much of it converged around the pioneering Apple II.
This book is a French translation of seventeen papers by Donald Knuth on algorithms both in the field of analysis of algorithms and in the design of new algorithms. They cover fundamental concepts and techniques and numerous discrete problems such as sorting, searching, data compression, theorem-proving, and cryptography, as well as methods for controlling errors in numerical computations.
A material history of haptics technology that raises new questions about the relationship between touch and media
Since the rise of radio and television, we have lived in an era defined increasingly by the electronic circulation of images and sounds. But the flood of new computing technologies known as haptic interfaces—which use electricity, vibration, and force feedback to stimulate the sense of touch—offering an alternative way of mediating and experiencing reality.
In Archaeologies of Touch, David Parisi offers the first full history of these increasingly vital technologies, showing how the efforts of scientists and engineers over the past three hundred years have gradually remade and redefined our sense of touch. Through lively analyses of electrical machines, videogames, sex toys, sensory substitution systems, robotics, and human–computer interfaces, Parisi shows how the materiality of touch technologies has been shaped by attempts to transform humans into more efficient processors of information.
With haptics becoming ever more central to emerging virtual-reality platforms (immersive bodysuits loaded with touch-stimulating actuators), wearable computers (haptic messaging systems like the Apple Watch’s Taptic Engine), and smartphones (vibrations that emulate the feel of buttons and onscreen objects), Archaeologies of Touch offers a timely and provocative engagement with the long history of touch technology that helps us confront and question the power relations underpinning the project of giving touch its own set of technical media.
“Inspiring and informative…deserves to be widely read.”
—Wall Street Journal
“This fun book offers a philosophical take on number systems and revels in the beauty of math.”
—Science News
Because we have ten fingers, grouping by ten seems natural, but twelve would be better for divisibility, and eight is well suited to repeated halving. Grouping by two, as in binary code, has turned out to have its own remarkable advantages.
Paul Lockhart presents arithmetic not as rote manipulation of numbers—a practical if mundane branch of knowledge best suited for filling out tax forms—but as a fascinating, sometimes surprising intellectual craft that arises from our desire to add, divide, and multiply important things. Passionate and entertaining, Arithmetic invites us to experience the beauty of mathematics through the eyes of a beguiling teacher.
“A nuanced understanding of working with numbers, gently connecting procedures that we once learned by rote with intuitions long since muddled by education…Lockhart presents arithmetic as a pleasurable pastime, and describes it as a craft like knitting.”
—Jonathon Keats, New Scientist
“What are numbers, how did they arise, why did our ancestors invent them, and how did they represent them? They are, after all, one of humankind’s most brilliant inventions, arguably having greater impact on our lives than the wheel. Lockhart recounts their fascinating story…A wonderful book.”
—Keith Devlin, author of Finding Fibonacci
After Physics presents ambitious new essays about some of the deepest questions at the foundations of physics, by the physicist and philosopher David Albert. The book’s title alludes to the close connections between physics and metaphysics, much in evidence throughout these essays. It also alludes to the work of imagining what it would be like for the project of physical science—considered as an investigation into the fundamental laws of nature—to be complete.
Albert argues that the difference between the past and the future—traditionally regarded as a matter for metaphysical or conceptual or linguistic or phenomenological analysis—can be understood as a mechanical phenomenon of nature. In another essay he contends that all versions of quantum mechanics that are compatible with the special theory of relativity make it impossible, even in principle, to present the entirety of what can be said about the world as a narrative sequence of “befores” and “afters.” Any sensible and realistic way of solving the quantum-mechanical measurement problem, Albert claims in yet another essay, is ultimately going to force us to think of particles and fields, and even the very space of the standard scientific conception of the world, as approximate and emergent. Novel discussions of the problem of deriving principled limits on what can be known, measured, or communicated from our fundamental physical theories, along with a sweeping critique of the main attempts at making sense of probabilities in many-worlds interpretations of quantum mechanics, round out the collection.
How are human actions shaped by the materiality of media?
Contemporary media leads us more than ever to an ‘acting at a distance,’ an acting entangled with the materiality of communication and the mediality of transmission. This book explores this crucial phenomenon thereby introducing urgent questions of human interaction, the binding and breaking of time and space, and the entanglement of the material and the immaterial.
Three vivid inquiries deal with histories and theories of mediality and materiality: John Durham Peters looks at episodes of simultaneity and synchronization. Christina Vagt discusses the agency of computer models against the backdrop of aesthetic theories by Henri Bergson and Hans Blumenberg, and Florian Sprenger discusses early electrical transmissions through copper wire and the temporality of instantaneity.
This book analyzes the different ways mathematics is applicable in the physical sciences, and presents a startling thesis--the success of mathematical physics appears to assign the human mind a special place in the cosmos.
Mark Steiner distinguishes among the semantic problems that arise from the use of mathematics in logical deduction; the metaphysical problems that arise from the alleged gap between mathematical objects and the physical world; the descriptive problems that arise from the use of mathematics to describe nature; and the epistemological problems that arise from the use of mathematics to discover those very descriptions.
The epistemological problems lead to the thesis about the mind. It is frequently claimed that the universe is indifferent to human goals and values, and therefore, Locke and Peirce, for example, doubted science's ability to discover the laws governing the humanly unobservable. Steiner argues that, on the contrary, these laws were discovered, using manmade mathematical analogies, resulting in an anthropocentric picture of the universe as "user friendly" to human cognition--a challenge to the entrenched dogma of naturalism.
Whether it is used as an icebreaker in conversation or as the subject of serious inquiry, “the weather” is one of the few subjects that everyone talks about. And though we recognize the faces that bring us the weather on television, how government meteorologists and forecasters go about their jobs is rarely scrutinized. Given recent weather-related disasters, it’s time we find out more. In Authors of the Storm, Gary Alan Fine offers an inside look at how meteorologists and forecasters predict the weather.
Based on field observation and interviews at the Storm Prediction Center in Oklahoma, the National Weather Service in Washington, D.C., and a handful of midwestern outlets, Fine finds a supremely hard-working, insular clique of professionals who often refer to themselves as a “band of brothers.” In Fine’s skilled hands, we learn their lingo, how they “read” weather conditions, how forecasts are written, and, of course, how those messages are conveyed to the public. Weather forecasts, he shows, are often shaped as much by social and cultural factors inside local offices as they are by approaching cumulus clouds. By opening up this unique world to us, Authors of the Storm offers a valuable and fascinating glimpse of a crucial profession.
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