Bøker utgitt av MIT Press

How sound leaves a fundamental imprint on who we are.Making sense of sound is one of the hardest jobs we ask our brains to do. In Of Sound Mind, Nina Kraus examines the partnership of sound and brain, showing for the first time that the processing of sound drives many of the brain's core functions. Our hearing is always on--we can't close our ears the way we close our eyes--and yet we can ignore sounds that are unimportant. We don't just hear; we engage with sounds. Kraus explores what goes on in our brains when we hear a word--or a chord, or a meow, or a screech. Our hearing brain, Kraus tells us, is vast. It interacts with what we know, with our emotions, with how we think, with our movements, and with our other senses. Auditory neurons make calculations at one-thousandth of a second; hearing is the speediest of our senses. Sound plays an unrecognized role in both healthy and hurting brains. Kraus explores the power of music for healing as well as the destructive power of noise on the nervous system. She traces what happens in the brain when we speak another language, have a language disorder, experience rhythm, listen to birdsong, or suffer a concussion. Kraus shows how our engagement with sound leaves a fundamental imprint on who we are. The sounds of our lives shape our brains, for better and for worse, and help us build the sonic world we live in.

Composed of stories, fragmentary essays, and even press releases Stagg has been commissioned to write, Artless captures the media landscape lived and generated in New York during the past half decade. Since the 2016 publication of her debut novel Surveys, Stagg has positioned herself as an in-demand expert on--and critic of--the psychic experience of self-mythology within the cruelly optimistic metaverse of infinite branding. Part voyeur and part participant, Stagg continues her exploration of the branded identity and its elusive, bottomless desire for authenticity.

A searing indictment of the American penal system that finds the roots of the recent prisoner abuse at Abu Ghraib and Guantánamo in the steady dismantling of the Eighth Amendment's prohibition of "cruel and unusual" punishment. The revelations of prisoner abuse and torture at Abu Ghraib and more recently at Guantánamo were shocking to most Americans. And those who condemned the treatment of prisoners abroad have focused on U.S. military procedures and abuses of executive powers in the war on terror, or, more specifically, on the now-famous White House legal counsel memos on the acceptable limits of torture. But in The Story of Cruel and Unusual, Colin Dayan argues that anyone who has followed U.S. Supreme Court decisions regarding the Eighth Amendment prohibition of "cruel and unusual" punishment would recognize the prisoners' treatment at Abu Ghraib and Guantánamo as a natural extension of the language of our courts and practices in U.S. prisons. In fact, it was no coincidence that White House legal counsel referred to a series of Supreme Court decisions in the 1980s and 1990s in making its case for torture.Dayan traces the roots of "acceptable" torture to slave codes of the nineteenth century that deeply embedded the dehumanization of the incarcerated in our legal system. Although the Eighth Amendment was interpreted generously during the prisoners' rights movement of the late 1960s and 1970s, this period of judicial concern was an anomaly. Over the last thirty years, Supreme Court decisions have once again dismantled Eighth Amendment protections and rendered such words as "cruel" and "inhuman" meaningless when applied to conditions of confinement and treatment during detention. Prisoners' actual pain and suffering have been explained away in a rhetorical haze--with rationalizations, for example, that measure cruelty not by the pain or suffering inflicted, but by the intent of the person who inflicted it. The Story of Cruel and Unusual is a stunningly original work of legal scholarship, and a searing indictment of the U.S. penal system.

Push a button and turn on the television; tap a button and get a ride; click a button and "like" something. The touch of a finger can set an appliance, a car, or a system in motion, even if the user doesn't understand the underlying mechanisms or algorithms. How did buttons become so ubiquitous? Why do people love them, loathe them, and fear them? In Power Button, Rachel Plotnick traces the origins of today's push-button society by examining how buttons have been made, distributed, used, rejected, and refashioned throughout history. Focusing on the period between 1880 and 1925, when "technologies of the hand" proliferated (including typewriters, telegraphs, and fingerprinting), Plotnick describes the ways that button pushing became a means for digital command, which promised effortless, discreet, and fool-proof control. Emphasizing the doubly digital nature of button pushing--as an act of the finger and a binary activity (on/off, up/down)--Plotnick suggests that the tenets of precomputational digital command anticipate contemporary ideas of computer users. Plotnick discusses the uses of early push buttons to call servants, and the growing tensions between those who work with their hands and those who command with their fingers; automation as "automagic," enabling command at a distance; instant gratification, and the victory of light over darkness; and early twentieth-century imaginings of a future push-button culture. Push buttons, Plotnick tells us, have demonstrated remarkable staying power, despite efforts to cast button pushers as lazy, privileged, and even dangerous.

How hormonal signals in one small structure of the brain--the hypothalamus--govern our physiology and behavior. As human beings, we prefer to think of ourselves as reasonable. But how much of what we do is really governed by reason? In this book, Gareth Leng considers the extent to which one small structure of the neuroendocrine brain--the hypothalamus--influences what we do, how we love, and who we are. The hypothalamus contains a large variety of neurons. These communicate not only through neurotransmitters, but also through peptide signals that act as hormones within the brain. While neurotransmitter signals tend to be ephemeral and confined by anatomical connectivity, the hormone signals that hypothalamic neurons generate are potent, wide-reaching, and long-lasting. Leng explores the evolutionary origins of these remarkable neurons, and where the receptors for their hormone signals are found in the brain. By asking how the hypothalamic neurons and their receptors are regulated, he explores how the hypothalamus links our passions with our reason. The Heart of the Brain shows in an accessible way how this very small structure is very much at the heart of what makes us human.

A leading innovation scholar explains the growing phenomenon and impact of free innovation, in which innovations developed by consumers and given away "for free." In this book, Eric von Hippel, author of the influential Democratizing Innovation, integrates new theory and research findings into the framework of a "free innovation paradigm." Free innovation, as he defines it, involves innovations developed by consumers who are self-rewarded for their efforts, and who give their designs away "for free." It is an inherently simple grassroots innovation process, unencumbered by compensated transactions and intellectual property rights. Free innovation is already widespread in national economies and is steadily increasing in both scale and scope. Today, tens of millions of consumers are collectively spending tens of billions of dollars annually on innovation development. However, because free innovations are developed during consumers' unpaid, discretionary time and are given away rather than sold, their collective impact and value have until very recently been hidden from view. This has caused researchers, governments, and firms to focus too much on the Schumpeterian idea of innovation as a producer-dominated activity. Free innovation has both advantages and drawbacks. Because free innovators are self-rewarded by such factors as personal utility, learning, and fun, they often pioneer new areas before producers see commercial potential. At the same time, because they give away their innovations, free innovators generally have very little incentive to invest in diffusing what they create, which reduces the social value of their efforts. The best solution, von Hippel and his colleagues argue, is a division of labor between free innovators and producers, enabling each to do what they do best. The result will be both increased producer profits and increased social welfare--a gain for all.

A collection of thought-provoking interviews with cutting-edge designers who transform ordinary wearables into extraordinary sites of personal expression, public engagement, and radical political action. Is the revolution hanging in your closet? Wearable Utopias explores the promise of wearables for reimagining social and political problems of today into diverse and inclusive worlds for tomorrow. Kat Jungnickel, Ellen Fowles, Katja May, and Nikki Pugh entangle science and technology, gender, and cultural studies with contemporary issues to highlight the role wearables can play in forging alternate paths through conventional landscapes. Featuring 24 interviews with new and established international designers, the collection covers everything from coats designed to protect digital privacy to high-performing jeans that combat air pollution to hi-vis cyclewear that responds to urban harassment. The interviews in Wearable Utopias are organized into six key themes addressing pressing civic issues: expanding (wearables that push physical, social, and political boundaries); moving (wearables that enable a wide range of sport and activities); concealing (wearables that defend privacy or keep secrets); connecting (wearables that link individuals to large scale issues); leaking (wearables that challenge the idea that urinating and menstruating is problematic or taboo); and working (wearables that address inequalities in the workplace).Wearable Utopias offers insight and inspiration for students, researchers, designers, and anyone making things to wear who are frustrated with daily inequities and normative limitations and want to do things differently.

Santayana's argument for the unity of philosophy and poetry. This concise and compelling volume--described by Santayana as a "piece of literary criticism, together with a first broad lesson in the history of philosophy"--introduces Santayana's thought in the rich context of a European poetic tradition that demonstrates his broad conception of philosophy. Rejecting both the Platonic opposition of philosophy and poetry and more recent attempts to reduce philosophy to science, Santayana argues that philosophy and poetry at their best are united in articulating a comprehensive vision of the world that permits honest contemplation of the universe. He considers the ideal visions of three artists: Lucretius's naturalism provides a total perspective on the physical world but renders experience monotonous; Dante's supernaturalism provides a total perspective on experience but subordinates nature to morality; Goethe's romanticism provides a dramatic perspective on nature and experience but lacks totality. Santayana sees each as the best in his own way, though none is best in all ways; and he speculates that the ideal poet would integrate the gifts and insights of all three, resulting in "rational art," of which philosophical poetry is a prime example. This critical edition, volume VIII of The Works of George Santayana, includes notes, textual commentary, lists of variants and emendations, an index, and other tools useful to Santayana scholars.

An argument that the movement for network neutrality was of a piece with its neoliberal environment, solidifying the continued existence of a commercially driven internet. Media reform activists rejoiced in 2015 when the FCC codified network neutrality, approving a set of Open Internet rules that prohibitedproviders from favoring some content and applications over others--only to have their hopes dashed two years later when the agency reversed itself. In this book, Russell Newman offers a unique perspective on these events, arguing that the movement for network neutrality was of a piece with its neoliberal environment rather than counter to it; perversely, it served to solidify the continued existence of a commercially dominant internet and even emergent modes of surveillance and platform capitalism. Going beyond the usual policy narrative of open versus closed networks, or public interest versus corporate power, Newman uses network neutrality as a lens through which to examine the ways that neoliberalism renews and reconstitutes itself, the limits of particular forms of activism, and the shaping of future regulatory processes and policies. Newman explores the debate's roots in the 1990s movement for open access, the transition to network neutrality battles in the 2000s, and the terms in which these battles were fought. By 2017, the debate had become unmoored from its own origins, and an emerging struggle against "neoliberal sincerity" points to a need to rethink activism surrounding media policy reform itself.

How to confront, embrace, and learn from the unavoidable failures of creative practice; with case studies that range from winemaking to animation. Failure is an inevitable part of any creative practice. As game designers, John Sharp and Colleen Macklin have grappled with crises of creativity, false starts, and bad outcomes. Their tool for coping with the many varieties of failure: iteration, the cyclical process of conceptualizing, prototyping, testing, and evaluating. Sharp and Macklin have found that failure--often hidden, covered up, a source of embarrassment--is the secret ingredient of iterative creative process. In Iterate, they explain how to fail better. After laying out the four components of creative practice--intention, outcome, process, and evaluation--Sharp and Macklin describe iterative methods from a wide variety of fields. They show, for example, how Radiolab cohosts Jad Abumrad and Robert Krulwich experiment with radio as a storytelling medium; how professional skateboarder Amelia Bródka develops skateboarding tricks through trial and error; and how artistic polymath Miranda July explores human frailty through a variety of media and techniques. Whimsical illustrations tell parallel stories of iteration, as hard-working cartoon figures bake cupcakes, experiment with levitating office chairs, and think outside the box in toothbrush design ("let's add propellers!"). All, in their various ways, use iteration to transform failure into creative outcomes. With Iterate, Sharp and Macklin offer useful lessons for anyone interested in the creative process. Case Studies: Allison Tauziet, winemaker; Matthew Maloney, animator; Jad Abumrad and Robert Krulwich, Radiolab cohosts; Wylie Dufresne, chef; Nathalie Pozzi, architect, and Eric Zimmerman, game designer; Andy Milne, jazz musician; Amelia Bródka, skateboarder; Baratunde Thurston, comedian; Cas Holman, toy designer; Miranda July, writer and filmmaker

A proposal that a single linguistic/cognitive system, "targeting," underlies two domains of reference, anaphora (speech-internal) and deixis (speech-external). In this book, Leonard Talmy proposes that a single linguistic/cognitive system, targeting, underlies two domains of linguistic reference, those termed anaphora (for a referent that is an element of the current discourse) and deixis (for a referent outside the discourse and in the spatiotemporal surroundings). Talmy argues that language engages the same cognitive system to single out referents whether they are speech-internal or speech-external. Talmy explains the targeting system in this way: as a speaker communicates with a hearer, her attention is on an object to which she wishes to refer; this is her target. To get the hearer's attention on it as well, she uses a trigger--a word such as this, that, here, there, or now. The trigger initiates a three-stage process in the hearer: he seeks cues of ten distinct categories; uses these cues to determine the target; and then maps the concept of the target gleaned from the cues back onto the trigger to integrate it into the speaker's sentence, achieving comprehension. The whole interaction, Talmy explains, rests on a coordination of the speaker's and hearer's cognitive processing. The process is the same whether the referent is anaphoric or deictic. Talmy presents and analyzes the ten categories of cues, and examines sequences in targeting, including the steps by which interaction leads to joint attention. A glossary defines the new terms in the argument.

The free and open source software movement, from its origins in hacker culture, through the development of GNU and Linux, to its commercial use today. In the 1980s, there was a revolution with far-reaching consequences--a revolution to restore software freedom. In the early 1980s, after decades of making source code available with programs, most programmers ceased sharing code freely. A band of revolutionaries, self-described "hackers," challenged this new norm by building operating systems with source code that could be freely shared. In For Fun and Profit, Christopher Tozzi offers an account of the free and open source software (FOSS) revolution, from its origins as an obscure, marginal effort by a small group of programmers to the widespread commercial use of open source software today. Tozzi explains FOSS's historical trajectory, shaped by eccentric personalities--including Richard Stallman and Linus Torvalds--and driven both by ideology and pragmatism, by fun and profit. Tozzi examines hacker culture and its influence on the Unix operating system, the reaction to Unix's commercialization, and the history of early Linux development. He describes the commercial boom that followed, when companies invested billions of dollars in products using FOSS operating systems; the subsequent tensions within the FOSS movement; and the battles with closed source software companies (especially Microsoft) that saw FOSS as a threat. Finally, Tozzi describes FOSS's current dominance in embedded computing, mobile devices, and the cloud, as well as its cultural and intellectual influence.

An extended argument that cognitive phenomena--perceiving, imagining, remembering--can be best explained in terms of an interface between contentless and content-involving forms of cognition. Evolving Enactivism argues that cognitive phenomena--perceiving, imagining, remembering--can be best explained in terms of an interface between contentless and content-involving forms of cognition. Building on their earlier book Radicalizing Enactivism, which proposes that there can be forms of cognition without content, Daniel Hutto and Erik Myin demonstrate the unique explanatory advantages of recognizing that only some forms of cognition have content while others--the most elementary ones--do not. They offer an account of the mind in duplex terms, proposing a complex vision of mentality in which these basic contentless forms of cognition interact with content-involving ones. Hutto and Myin argue that the most basic forms of cognition do not, contrary to a currently popular account of cognition, involve picking up and processing information that is then used, reused, stored, and represented in the brain. Rather, basic cognition is contentless--fundamentally interactive, dynamic, and relational. In advancing the case for a radically enactive account of cognition, Hutto and Myin propose crucial adjustments to our concept of cognition and offer theoretical support for their revolutionary rethinking, emphasizing its capacity to explain basic minds in naturalistic terms. They demonstrate the explanatory power of the duplex vision of cognition, showing how it offers powerful means for understanding quintessential cognitive phenomena without introducing scientifically intractable mysteries into the mix.

A novel exploration of popular photographic media cultures in 1930s Europe through a feminist lens--and how visual social media changes what it means to be human both then and now. Glitchy Vision takes a feminist approach to media history to examine how photographic social media cultures change human bodies and the experience of being human. Amanda Greene explains how change is not always revolutionary, but instead can occur on an everyday basis through the glitches new media introduce. To illuminate these glitches, Greene's media history centers the inevitable distortions that arise from looking at the past from the vantage point of the present. Treating these distortions as tools as opposed to obstacles, Greene uncovers new ways of viewing social media cultures of the past, while also revealing parallels between historical contexts and our contemporary digital media environment. Greene uses three "born-digital keywords"--real-time, algorithmic filters, and sousveillance--to examine photographic media environments in and around 1930s Europe. Each chapter of the book places one of the keywords in dialogue with an unconventional archive of popular "feminized" cultural artifacts and technological innovations from this historical moment that have been overlooked as critical resources for media studies: Evelyn Waugh's bestselling novel Vile Bodies (1930) and photographic reproductions for the tabloid press; Lee Miller's war photography for British Vogue and glamourous photo-retouching techniques; and, the Mass-Observation Movement's surrealist anthropology and compact rangefinder cameras like the Leica II. Glitchy Vision provides new strategies for reading history that illuminate how small shifts in the circuits that connect bodies and media affect what it means to be human both in the past and today.

The rich history of a centuries-old document security technology--folding and securing a letter into its own envelope for delivery--and a comprehensive guide to learning how to make your own locked letters. Before the invention of the gummed envelope in the 1830s, how did people secure their private letters? The answer is letterlocking--the ingenious process of folding, slitting, and securing a letter with a strip of paper and sealing wax so that it becomes its own envelope. The practice, used by historical figures ranging from Elizabeth I and her spymaster to Japanese samurai lords, and nearly entirely forgotten, was an everyday activity for centuries, across cultures, borders, and social classes. In Letterlocking, Jana Dambrogio and Daniel Starza Smith, experts who have pioneered the field over the last ten years, tell the fascinating story of letterlocking within epistolary history, drawing on real historical examples from all over the world. Fully illustrated with more than 500 images and diagrams, including a dictionary of hundreds of technical terms and concepts, Letterlocking describes the essential precepts of the practice and provides sources of practical support needed for beginner and advanced users of letterlocking. The authors also advocate for the understanding of letterlocking and for its inclusion in a range of intellectual and cultural enquiries, from conservation science and archival databases to historical television shows. By the end of the book, readers will learn how to make locked letters, study letters that may have been locked, and categorize those letters using systems the authors developed while studying over 250,000 historic letters. Letterlocking will be accompanied by a website, freely accessible scholarly articles, and instructional videos and diagrams, as well as foldable, tear-out sheets with instructions on how to fold and lock a letter.

"A guide to making sure that the services required for aging well are in place in communities, thereby making them into longevity hubs"--

The surprising history of the Commodore 64, the best-selling home computer of the 1980s--the machine that taught the world that computing should be fun. The Commodore 64 (C64) is officially the best-selling desktop computer model of all time, according to The Guinness Book of World Records. It was also, from 1985 to 1993, the platform for which most video games were made. But while it sold at least twice as many units as other home computers of its time, like the Apple II, ZX Spectrum, or Commodore Amiga, it is strangely forgotten in many computer histories. In Too Much Fun, Jesper Juul argues that the C64 was so popular because it was so versatile, a machine developers and users would reinvent again and again over the course of 40 years. First it was a serious computer, next a game computer, then a computer for technical brilliance (graphical demos using the machine in seemingly impossible ways), then a struggling competitor, and finally a retro device whose limitations are now charming. The C64, Juul shows, has been ignored by history because it was too much fun. Richly illustrated in full color, this book is the first in-depth examination of the C64's design and history, and the first to integrate US and European histories. With interviews of Commodore engineers and with its insightful look at C64 games, music, and software, from Summer Games to International Karate to Simons' BASIC, Too Much Fun will appeal to those who used a Commodore 64, those interested in the history of computing and video games and computational literacy, or just those who wish their technological devices would last longer.

A book-length selection from Kevin Killian's legendary corpus of more than two thousand product reviews posted on Amazon.com.An enchanting roll of duct tape. Love Actually on Blu-ray Disc. The Toaster Oven Cookbook, The Biography of Stevie Nicks, and an anthology of poets who died of AIDS. In this only book-length selection from his legendary corpus of more than two thousand product reviews posted on Amazon.com, sagacious shopper Kevin Killian holds forth on these household essentials and many, many, many others.The beloved author of more than a dozen volumes of innovative poetry, fiction, drama, and scholarship, Killian was for decades a charismatic participant in San Francisco’s New Narrative writing circle. From 2003–2019, he was also one of Amazon’s most prolific reviewers, rising to rarefied “Top 100” and “Hall of Fame” status on the site. Alternately hilarious and heartfelt, Killian’s commentaries consider an incredible variety of items, each review a literary escapade hidden in plain sight amongst the retailer’s endless pages of user-generated content. Selected Amazon Reviews at last gathers an appropriately wide swath of this material between two covers, revealing the project to be a unified whole and always more than a lark. Some for “verified purchases,” others for products enjoyed in theory, Killian’s reviews draw on the influential strategies of New Narrative, his unrivaled fandom for both elevated and popular culture, and the fine art of fabulation. Many of them are ingeniously funny—flash-fictional riffs on the commodity as talismanic object, written by a cast of personas worthy of Pessoa. And many others are serious, even scholarly—earnest tributes to contemporaries, and to small-press books that may not have received attention elsewhere, offered with exemplary attention. All of Killian’s reviews subvert the Amazon platform, queering it to his own play with language, identity, genre, critique. Killian’s prose is a consistent pleasure throughout Selected Amazon Reviews, brimming with wit, lyricism, and true affection. As the Hall of Famer himself reflected on this form-of-his-own-invention shortly before his untimely passing in 2019: “They’re reviews of a sort, but they also seem like novels. They’re poems. They’re essays about life. I get a lot of my kinks out there, on Amazon.”

An examination of the ethical issues raised by the possibility of human life extension, including its desirability, unequal access, and the threat of overpopulation. Life extension--slowing or halting human aging--is now being taken seriously by many scientists. Although no techniques to slow human aging yet exist, researchers have successfully slowed aging in yeast, mice, and fruit flies, and have determined that humans share aging-related genes with these species. In New Methuselahs, John Davis offers a philosophical discussion of the ethical issues raised by the possibility of human life extension. Why consider these issues now, before human life extension is a reality? Davis points out that, even today, we are making policy and funding decisions about human life extension research that have ethical implications. With New Methuselahs, he provides a comprehensive guide to these issues, offering policy recommendations and a qualified defense of life extension. After an overview of the ethics and science of life extension, Davis considers such issues as the desirability of extended life; whether refusing extended life is a form of suicide; the Malthusian threat of overpopulation; equal access to life extension; and life extension and the right against harm. In the end, Davis sides neither with those who argue that there are no moral objections to life enhancement nor with those who argue that the moral objections are so strong that we should never develop it. Davis argues that life extension is, on balance, a good thing and that we should fund life extension research aggressively, and he proposes a feasible and just policy for preventing an overpopulation crisis.

A provocative attempt to think about what was previously considered unthinkable: a serious philosophical case for the rights of robots. We are in the midst of a robot invasion, as devices of different configurations and capabilities slowly but surely come to take up increasingly important positions in everyday social reality--self-driving vehicles, recommendation algorithms, machine learning decision making systems, and social robots of various forms and functions. Although considerable attention has already been devoted to the subject of robots and responsibility, the question concerning the social status of these artifacts has been largely overlooked. In this book, David Gunkel offers a provocative attempt to think about what has been previously regarded as unthinkable: whether and to what extent robots and other technological artifacts of our own making can and should have any claim to moral and legal standing. In his analysis, Gunkel invokes the philosophical distinction (developed by David Hume) between "is" and "ought" in order to evaluate and analyze the different arguments regarding the question of robot rights. In the course of his examination, Gunkel finds that none of the existing positions or proposals hold up under scrutiny. In response to this, he then offers an innovative alternative proposal that effectively flips the script on the is/ought problem by introducing another, altogether different way to conceptualize the social situation of robots and the opportunities and challenges they present to existing moral and legal systems.

How making and sharing video games offer educational benefits for coding, collaboration, and creativity. Over the last decade, video games designed to teach academic content have multiplied. Students can learn about Newtonian physics from a game or prep for entry into the army. An emphasis on the instructionist approach to gaming, however, has overshadowed the constructionist approach, in which students learn by designing their own games themselves. In this book, Yasmin Kafai and Quinn Burke discuss the educational benefits of constructionist gaming--coding, collaboration, and creativity--and the move from "computational thinking" toward "computational participation." Kafai and Burke point to recent developments that support a shift to game making from game playing, including the game industry's acceptance, and even promotion, of "modding" and the growth of a DIY culture. Kafai and Burke show that student-designed games teach not only such technical skills as programming but also academic subjects. Making games also teaches collaboration, as students frequently work in teams to produce content and then share their games with in class or with others online. Yet Kafai and Burke don't advocate abandoning instructionist for constructionist approaches. Rather, they argue for a more comprehensive, inclusive idea of connected gaming in which both making and gaming play a part.

Discussions of the use and limits of randomized control trials, considering the power of theory, external validity, gaps in knowledge, and what issues matter. The practice of development economics has undergone something of a revolution as many economists have adopted new methods to answer perennial questions about the effectiveness of anti-poverty programs. In this book, prominent development economists discuss the use and impact of one of the most significant of these new methods, randomized control trials (RCTs) and field experiments. In extended interviews conducted over a period of several years, they explain their work and their thinking and consider the broader issues of how we learn about the world and how we can change it for the better. These conversations offer specialists and nonspecialists alike a unique opportunity to hear economists speak in their own words, free of the confines of a particular study or econometric esoterica. The economists describe how they apply research findings in the way they think about the world, revealing their ideas about the power of theory, external validity, gaps in knowledge, and what issues matter. Also included are interviews with RCT observers, critics, sponsors, consumers, and others. Each interview provides a brief biography of the interviewee. Thorough annotations offer background and explanations for key ideas and studies referred to in the conversations. ContributorsAbhijit Banerjee, Nancy Birdsall, Chris Blattman, Alex Counts, Tyler Cowen, Angus Deaton, Frank DeGiovanni, Esther Duflo, Pascaline Dupas, Xavi Gine, Rachel Glennerster, Judy Gueron, Elie Hassenfeld, Dean Karlan, Michael Kremer, David McKenzie, Jonathan Morduch, Lant Pritchett, Jonathan Robinson, Antoinette Schoar, Dean Yang

An examination of Yayoi Kusama's work that goes beyond the usual biographical interpretation to consider her place in postwar global art history. Yayoi Kusama is the most famous artist to emerge from Japan in the period following World War II. Part of a burgeoning international art scene in the early 1960s, she exhibited in New York with Andy Warhol, Donald Judd, Claes Oldenburg, and other Pop and Minimalist luminaries, and in Europe with the Dutch Nul and the German Zero artist groups. Known for repetitive patterns, sewn soft sculptures, naked performance, and suggestive content, Kusama's work anticipated the politically charged feminist art of the 1970s. But Kusama and her work were soon eclipsed by a dealer-controlled art market monopoly of white male American artists. Returning to Japan in 1973, Kusama became almost as famous for her self-proclaimed mental illness and permanent residence in a psychiatric hospital as she was for her art. In this book, Midori Yamamura eschews the usual critical fascination with Kusama's biography to consider the artist in her social and cultural milieu. By examining Kusama's art alongside that of her peers, Yamamura offers a new perspective on Kusama's career. Yamamura shows that Kusama, who came of age in totalitarian wartime Japan, embraced art as an anticonformist pursuit, seeking a subjective autonomy that resulted in the singular expression of her art. Examining Kusama's association with European and New York art movements of the 1960s and her creation of psychedelic light-and-sound "Happenings," Yamamura argues that Kusama and her heterogeneous peers defied and undermined various pillars of modernity during the crucial transition from the modern nation-state to global free-market capitalism. The art market rediscovered Kusama in the 1990s, and she has since had a series of high-profile exhibitions. Recounting Kusama's story, Yamamura offers an incisive, penetrating analysis of postwar art's globalization as viewed from the periphery.

An introduction to the fundamental concepts of the emerging field of Artificial Chemistries, covering both theory and practical applications. The field of Artificial Life (ALife) is now firmly established in the scientific world, but it has yet to achieve one of its original goals: an understanding of the emergence of life on Earth. The new field of Artificial Chemistries draws from chemistry, biology, computer science, mathematics, and other disciplines to work toward that goal. For if, as it has been argued, life emerged from primitive, prebiotic forms of self-organization, then studying models of chemical reaction systems could bring ALife closer to understanding the origins of life. In Artificial Chemistries (ACs), the emphasis is on creating new interactions rather than new materials. The results can be found both in the virtual world, in certain multiagent systems, and in the physical world, in new (artificial) reaction systems. This book offers an introduction to the fundamental concepts of ACs, covering both theory and practical applications. After a general overview of the field and its methodology, the book reviews important aspects of biology, including basic mechanisms of evolution; discusses examples of ACs drawn from the literature; considers fundamental questions of how order can emerge, emphasizing the concept of chemical organization (a closed and self-maintaining set of chemicals); and surveys a range of applications, which include computing, systems modeling in biology, and synthetic life. An appendix provides a Python toolkit for implementing ACs.

A multidisciplinary examination of cognitive mechanisms, shaped over evolutionary time through natural selection, that govern decision making. How do we make decisions? Conventional decision theory tells us only which behavioral choices we ought to make if we follow certain axioms. In real life, however, our choices are governed by cognitive mechanisms shaped over evolutionary time through the process of natural selection. Evolution has created strong biases in how and when we process information, and it is these evolved cognitive building blocks--from signal detection and memory to individual and social learning--that provide the foundation for our choices. An evolutionary perspective thus sheds necessary light on the nature of how we and other animals make decisions. This volume--with contributors from a broad range of disciplines, including evolutionary biology, psychology, economics, anthropology, neuroscience, and computer science--offers a multidisciplinary examination of what evolution can tell us about our and other animals' mechanisms of decision making. Human children, for example, differ from chimpanzees in their tendency to over-imitate others and copy obviously useless actions; this divergence from our primate relatives sets up imitation as one of the important mechanisms underlying human decision making. The volume also considers why and when decision mechanisms are robust, why they vary across individuals and situations, and how social life affects our decisions.

Twelve studies by eminent art historian James S. Ackerman. This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman's earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past--which may act not only as a restraint but as a challenge and stimulus--and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences. The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.