Books in the The MIT Press series

Accessible and essential coverage of today's challenging, speculative, cutting-edge science from Quanta Magazine.If you're a science and data nerd like me, you may be interested in "Alice and Bob Meet the Wall of Fire" and "The Prime Number Conspiracy" from Quanta Magazine and Thomas Lin. - Bill GatesThese stories reveal the latest efforts to untangle the mysteries of the universe. Bringing together the best and most interesting science stories appearing in Quanta Magazine over the past five years, Alice and Bob Meet the Wall of Fire reports on some of the greatest scientific minds as they test the limits of human knowledge. Quanta, under editor-in-chief Thomas Lin, is the only popular publication that offers in-depth coverage of today's challenging, speculative, cutting-edge science. It communicates science by taking it seriously, wrestling with difficult concepts and clearly explaining them in a way that speaks to our innate curiosity about our world and ourselves.In the title story, Alice and Bob—beloved characters of various thought experiments in physics—grapple with gravitational forces, possible spaghettification, and a massive wall of fire as Alice jumps into a black hole. Another story considers whether the universe is impossible, in light of experimental results at the Large Hadron Collider. We learn about quantum reality and the mystery of quantum entanglement; explore the source of time's arrow; and witness a eureka moment when a quantum physicist exclaims: "Finally, we can understand why a cup of coffee equilibrates in a room.” We reflect on humans' enormous skulls and the Brain Boom; consider the evolutionary benefits of loneliness; peel back the layers of the newest artificial-intelligence algorithms; follow the "battle for the heart and soul of physics”; and mourn the disappearance of the "diphoton bump,” revealed to be a statistical fluctuation rather than a revolutionary new particle. These stories from Quanta give us a front-row seat to scientific discovery.ContributorsPhilip Ball, K. C. Cole, Robbert Dijkgraaf, Dan Falk, Courtney Humphries, Ferris Jabr, Katia Moskvitch, George Musser, Michael Nielsen, Jennifer Ouellette, John Pavlus, Emily Singer, Andreas von Bubnoff, Frank Wilczek, Natalie Wolchover, Carl Zimmer

The different ways that social change happens, from unleashing to nudging to social cascades.

Scientists debate the role of scientific research in the military-industrial complex and consider the complicity of academic science in American wars.

An argument that theoretical works can signify through their materiality—their "noise,” or such nonsemantic elements as typography—as well as their semantic content.In Material Noise, Anne Royston argues that theoretical works signify through their materiality—such nonsemantic elements as typography or color—as well as their semantic content. Examining works by Jacques Derrida, Avital Ronell, Georges Bataille, and other well-known theorists, Royston considers their materiality and design—which she terms "noise”—as integral to their meaning. In other words, she reads these theoretical works as complex assemblages, just as she would read an artist's book in all its idiosyncratic tangibility.Royston explores the formlessness and heterogeneity of the Encyclopedia Da Costa, which published works by Bataille, André Breton, and others; the use of layout and white space in Derrida's Glas; the typographic illegibility—"static and interference”—in Ronell's The Telephone Book; and the enticing surfaces of Mark C. Taylor's Hiding, its digital counterpart The Réal: Las Vegas, NV, and Shelley Jackson's Skin. Royston then extends her analysis to other genres, examining two recent artists' books that express explicit theoretical concerns: Johanna Drucker's Stochastic Poetics and Susan Howe's Tom Tit Tot.Throughout, Royston develops the concept of artistic arguments, which employ signification that exceeds the semantics of a printed text and are not reducible to a series of linear logical propositions. Artistic arguments foreground their materiality and reflect on the media that create them. Moreover, Royston argues, each artistic argument anticipates some aspect of digital thinking, speaking directly to such contemporary concerns as hypertext, communication theory, networks, and digital distribution.

An introduction to dimensional analysis, a method of scientific analysis used to investigate and simplify complex physical phenomena, demonstrated through a series of engaging examples.This book offers an introduction to dimensional analysis, a powerful method of scientific analysis used to investigate and simplify complex physical phenomena. The method enables bold approximations and the generation of testable hypotheses. The book explains these analyses through a series of entertaining applications; students will learn to analyze, for example, the limits of world-record weight lifters, the distance an electric submarine can travel, how an upside-down pendulum is similar to a running velociraptor, and the number of Olympic rowers required to double boat speed.The book introduces the approach through easy-to-follow, step-by-step methods that show how to identify the essential variables describing a complex problem; explore the dimensions of the problem and recast it to reduce complexity; leverage physical insights and experimental observations to further reduce complexity; form testable scientific hypotheses; combine experiments and analysis to solve a problem; and collapse and present experimental measurements in a compact form. Each chapter ends with a summary and problems for students to solve. Taken together, the analyses and examples demonstrate the value of dimensional analysis and provide guidance on how to combine and enhance dimensional analysis with physical insights. The book can be used by undergraduate students in physics, engineering, chemistry, biology, sports science, and astronomy.

Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music.Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves "unmusical.” This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it.Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality.ContributorsJorge L. Armony, Judith Becker, Simon E. Fisher, W. Tecumseh Fitch, Bruno Gingras, Jessica Grahn, Yuko Hattori, Marisa Hoeschele, Henkjan Honing, David Huron, Dieuwke Hupkes, Yukiko Kikuchi, Julia Kursell, Marie-Élaine Lagrois, Hugo Merchant, Björn Merker, Iain Morley, Aniruddh D. Patel, Isabelle Peretz, Martin Rohrmeier, Constance Scharff, Carel ten Cate, Laurel J. Trainor, Sandra E. Trehub, Peter Tyack, Dominique Vuvan, Geraint Wiggins, Willem Zuidema

The definitive presentation of Soar, one AI's most enduring architectures, offering comprehensive descriptions of fundamental aspects and new components.

The kaleidoscope, the stereoscope, and other nineteenth-century optical toys analyzed as "new media” of their era, provoking anxieties similar to our own about children and screens.In the nineteenth century, the kaleidoscope, the thaumatrope, the zoetrope, the stereoscope, and other optical toys were standard accessories of a middle-class childhood, used both at home and at school. In Playful Visions, Meredith Bak argues that the optical toys of the nineteenth century were the "new media” of their era, teaching children to be discerning consumers of media—and also provoking anxieties similar to contemporary worries about children's screen time. Bak shows that optical toys—which produced visual effects ranging from a moving image to the illusion of depth—established and reinforced a new understanding of vision as an interpretive process. At the same time, the expansion of the middle class as well as education and labor reforms contributed to a new notion of childhood as a time of innocence and play. Modern media culture and the emergence of modern Western childhood are thus deeply interconnected.Drawing on extensive archival research, Bak discusses, among other things, the circulation of optical toys, and the wide visibility gained by their appearance as printed templates and textual descriptions in periodicals; expanding conceptions of literacy, which came to include visual acuity; and how optical play allowed children to exercise a sense of visual mastery. She examines optical toys alongside related visual technologies including chromolithography—which inspired both chromatic delight and chromophobia. Finally, considering the contemporary use of optical toys in advertising, education, and art, Bak analyzes the endurance of nineteenth-century visual paradigms.

A new framework for considering how all media constantly borrow from and refashion other media.Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.

A workbook designed to accompany the theory developed in "Political Economics" of a common mode of analysis, combining theories of macroeconomic policy, public choice and rational choice in political science, to use in the field of political economics.