Books published by MIT Press Ltd

An argument that information exists at different levels of analysis—syntactic, semantic, and pragmatic—and an exploration of the implications.Although this is the Information Age, there is no universal agreement about what information really is. Different disciplines view information differently; engineers, computer scientists, economists, linguists, and philosophers all take varying and apparently disconnected approaches. In this book, Antonio Badia distinguishes four levels of analysis brought to bear on information: syntactic, semantic, pragmatic, and network-based. Badia explains each of these theoretical approaches in turn, discussing, among other topics, theories of Claude Shannon and Andrey Kolomogorov, Fred Dretske's description of information flow, and ideas on receiver impact and informational interactions. Badia argues that all these theories describe the same phenomena from different perspectives, each one narrower than the previous one. The syntactic approach is the more general one, but it fails to specify when information is meaningful to an agent, which is the focus of the semantic and pragmatic approaches. The network-based approach, meanwhile, provides a framework to understand information use among agents.Badia then explores the consequences of understanding information as existing at several levels. Humans live at the semantic and pragmatic level (and at the network level as a society), computers at the syntactic level. This sheds light on some recent issues, including "fake news” (computers cannot tell whether a statement is true or not, because truth is a semantic notion) and "algorithmic bias” (a pragmatic, not syntactic concern). Humans, not computers, the book argues, have the ability to solve these issues.

An advanced treatment of modern macroeconomics, presented through a sequence of dynamic equilibrium models, with discussion of the implications for monetary and fiscal policy.This textbook offers an advanced treatment of modern macroeconomics, presented through a sequence of dynamic general equilibrium models based on intertemporal optimization on the part of economic agents. The book treats macroeconomics as applied and policy-oriented general equilibrium analysis, examining a number of models, each of which is suitable for investigating specific issues but may be unsuitable for others.After presenting a brief survey of the evolution of macroeconomics and the key facts about long-run economic growth and aggregate fluctuations, the book introduces the main elements of the intertemporal approach through a series of two-period competitive general equilibrium models—the simplest possible intertemporal models. This sets the stage for the remainder of the book, which presents models of economic growth, aggregate fluctuations, and monetary and fiscal policy. The text focuses on a full analysis of a limited number of key intertemporal models, which are stripped down to essentials so that students can focus on the dynamic properties of the models. Exercises encourage students to try their hands at solving versions of the dynamic models that define modern macroeconomics. Appendixes review the main mathematical techniques needed to analyze optimizing dynamic macroeconomic models. The book is suitable for advanced undergraduate and graduate students who have some knowledge of economic theory and mathematics for economists.

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 authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans.

A survey of computational methods for understanding, generating, and manipulating human language, which offers a synthesis of classical representations and algorithms with contemporary machine learning techniques.This textbook provides a technical perspective on natural language processing—methods for building computer software that understands, generates, and manipulates human language. It emphasizes contemporary data-driven approaches, focusing on techniques from supervised and unsupervised machine learning. The first section establishes a foundation in machine learning by building a set of tools that will be used throughout the book and applying them to word-based textual analysis. The second section introduces structured representations of language, including sequences, trees, and graphs. The third section explores different approaches to the representation and analysis of linguistic meaning, ranging from formal logic to neural word embeddings. The final section offers chapter-length treatments of three transformative applications of natural language processing: information extraction, machine translation, and text generation. End-of-chapter exercises include both paper-and-pencil analysis and software implementation.The text synthesizes and distills a broad and diverse research literature, linking contemporary machine learning techniques with the field's linguistic and computational foundations. It is suitable for use in advanced undergraduate and graduate-level courses and as a reference for software engineers and data scientists. Readers should have a background in computer programming and college-level mathematics. After mastering the material presented, students will have the technical skill to build and analyze novel natural language processing systems and to understand the latest research in the field.

How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art.Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon—delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art in the post-truth era. Staal shows that propaganda is not a relic of a totalitarian past but occurs today even in liberal democracies. He considers different historical forms of propaganda art, from avant-garde to totalitarian and modernist, and he investigates the us versus them dichotomy promoted in War on Terror propaganda art—describing, among other things, a fictional scenario from the Department of Homeland Security, acted out in real time, and military training via videogame. He discusses artistic and cultural productions developed by such popular mass movements of the twenty-first century as the Occupy, activism by and in support of undocumented migrants and refugees, and struggles for liberation in such countries as Mali and Syria. Staal, both a scholar of propaganda and a self-described propaganda artist, proposes a new model of emancipatory propaganda art—one that acknowledges the relation between art and power and takes both an aesthetic and a political position in the practice of world-making.

An investigation of independent video games—creative, personal, strange, and experimental—and their claims to handcrafted authenticity in a purely digital medium.Video games are often dismissed as mere entertainment products created by faceless corporations. The last twenty years, however, have seen the rise of independent, or "indie,” video games: a wave of small, cheaply developed, experimental, and personal video games that react against mainstream video game development and culture. In Handmade Pixels, Jesper Juul examine the paradoxical claims of developers, players, and festivals that portray independent games as unique and hand-crafted objects in a globally distributed digital medium.Juul explains that independent video games are presented not as mass market products, but as cultural works created by people, and are promoted as authentic alternatives to mainstream games. Writing as a game player, scholar, developer, and educator, Juul tells the story of how independent games—creative, personal, strange, and experimental—became a historical movement that borrowed the term "independent” from film and music while finding its own kind of independence.Juul describes how the visual style of independent games signals their authenticity—often by referring to older video games or analog visual styles. He shows how developers use strategies for creating games with financial, aesthetic, and cultural independence; discusses the aesthetic innovations of "walking simulator” games; and explains the controversies over what is and what isn't a game. Juul offers examples from independent games ranging from Dys4ia to Firewatch; the text is richly illustrated with many color images.

An introductory text in linguistic semantics, uniquely balancing empirical coverage and formalism with development of intuition and methodology.This introductory textbook in linguistic semantics for undergraduates features a unique balance between empirical coverage and formalism on the one hand and development of intuition and methodology on the other. It will equip students to form intuitions about a set of data, explain how well an analysis of the data accords with their intuitions, and extend the analysis or seek an alternative. No prior knowledge of linguistics is required. After mastering the material, students will be able to tackle some of the most difficult questions in the field even if they have never taken a linguistics course before.After introducing such concepts as truth conditions and compositionality, the book presents a basic symbolic logic with negation, conjunction, and generalized quantifiers, to serve as the basis for translation throughout the book. It then develops a detailed compositional semantics, covering quantification (scope and binding), adverbial modification, relative clauses, event semantics, tense and aspect, as well as pragmatic phenomena, notably deictic pronouns and narrative progression.A Course in Semantics offers a large and diverse set of exercises, interspersed throughout the text; those labeled "Important practice and looking ahead” prepare students for material to come; those labeled "Thinking about ” invite students to think beyond the content of the book.

Experts from economics, finance, law, policy, and banking discuss the design and implementation of a future capital market union in Europe.The plan for further development of Europe's economic and monetary union foresees the creation of a capital market union (CMU)—a single market for capital in the entire Eurozone. The need for citizens and firms of all European countries to have access to funding, together with the pressure to improve the efficiency and risk-sharing opportunities of the financial system in general, put the CMU among the top priorities on the Eurozone's agenda. In this volume, leading academics in economics, finance, and law, along with policy makers and practitioners, discuss the design and implementation of a future CMU.Contributors describe the key design challenges of the CMU; specific opportunities and obstacles for reaching the CMU's goals of increasing the economic well-being of households and the profitability and viability of firms; the role that markets—from the latest fintech developments to traditional equity markets—can play in the future success of CMU; and the institutional framework needed for CMU in the aftermath of the global recession.ContributorsSumit Agarwal, Franklin Allen, Valentina Allotti, Gene Amromin, John Armour, Geert Bekaert, Itzhak Ben-David, Marcello Bianchi, Lorenzo Bini-Smaghi, Claudio Borio, Franziska Bremus, Marina Brogi, Claudia M. Buch, Giacomo Calzolari, Souphala Chomsisengphet, Luca Enriques, Douglas D. Evanoff, Ester Faia, Eilis Ferran, Jeffrey N. Gordon, Michael Haliassos, Campbell R. Harvey, Kathryn Judge, Suzanne Kalss, Valentina Lagasio, Katya Langenbucher, Christian T. Lundblad, Massimo Marchesi, Alexander Michaelides, Stefano Micossi, Emanuel Moench, Mario Nava, Giorgio Barba Navaretti, Giovanna Nicodano, Gianmarco Ottaviano, Marco Pagano, Monica Paiella, Lubos Pastor, Alain Pietrancosta, Richard Portes, Alberto Franco Pozzolo, Stephan Siegel, Wolfe-Georg Ringe, Diego Valiante

A groundbreaking reading of Duchamp's work as informed by Asian "esoterism, " energetic spiritual practices identifying creative energy with the erotic impulse.

An analysis of patterns of convergent evolution on Earth that suggests where we might look for similar convergent forms on other planets.Why does a sea lily look like a palm tree? And why is a sea lily called a "lily” when it is a marine animal and not a plant? Many marine animals bear a noticeable similarity in form to land-dwelling plants. And yet these marine animal forms evolved in the oceans first; land plants independently and convergently evolved similar forms much later in geologic time. In this book, George McGhee analyzes patterns of convergent evolution on Earth and argues that these patterns offer lessons for the search for life elsewhere in the universe.Our Earth is a water world; 71 percent of the earth's surface is covered by water. The fossil record shows that multicellular life on dry land is a new phenomenon; for the vast majority of the earth's history—3,500 million years of its 4,560 million years of existence—complex life existed only in the oceans. Explaining that convergent biological evolution occurs because of limited evolutionary pathways, McGhee examines examples of convergent evolution in forms of feeding, immobility and mobility, defense, and organ systems. McGhee suggests that the patterns of convergent evolution that we see in our own water world indicate the potential for similar convergent forms in other water worlds. We should search for extraterrestrial life on water worlds, and for technological life on water worlds with continental landmasses.

Reclaiming the artist Ana Mendieta as a formally innovative maker of performative art who forged connections to the marginalized around the world.The artist Ana Mendieta (1948-1985) is remembered as the creator of powerful works expressing a vibrant and unflinching second-wave feminist sensibility. In Radical Virtuosity, art historian Genevieve Hyacinthe offers a new view of Mendieta, connecting her innovative artwork to the art, cultural aesthetics and concerns, feminisms, and sociopolitical messages of the black Atlantic. Mendieta left Cuba as a preteen, fleeing the Castro regime, and spent years in U.S. foster care. Her sense of exile, Hyacinthe argues, colors her work. Hyacinthe examines the development of Mendieta's performative artworks—particularly the Silueta series (1973-1985), which documented the silhouette of her body in the earth over time (a series "without end,” Mendieta said)—and argues that these works were shaped by Mendieta's appropriation and reimagining of Afro-Cuban ritual. Mendieta's effort to create works that invited audience participation, Hyacinthe says, signals her interest in forging connections with the marginalized, particularly those of the black Atlantic and Global South. Hyacinthe describes the "counter entropy” of Mendieta's small-scale earthworks (contrasting them with more massive works created by Robert Smithson and other male artists); considers the resonance of Mendieta's work with the contemporary practices of black Atlantic female artists including Wangechi Mutu, Renee Green, and Damali Abrams; and connects Mendieta's artistic and political expressions to black Atlantic feminisms of such popular artists as Princess Nokia. Mendieta's life and work are often overshadowed in popular perception by her early and tragic death—at thirty-six, she plunged from the window of the thirty-fourth floor Greenwich Village apartment she shared with her husband, the artist Carl Andre. (Andre was charged with her murder and acquitted.) Hyacinthe's account—profusely illustrated, with many images in color—reclaims Mendieta's work and legacy for its artistic significance.

Writings by the conceptual artist Michael Asher—including notes, proposals, exhibition statements, and letters to curators and critics—most published here for the first time.The California conceptual artist Michael Asher (1943-2012) was known for rigorous site specificity and pioneering institutional critique. His decades of teaching at CalArts influenced generations of artists. Much of Asher's artistic practice was devoted to creating works that had no lasting material presence and often responded to the material, social, or ideological context of a situation. Because most of Asher's artworks have ceased to exist, his writings about them have special significance. Public Knowledge collects writings by Asher about his work—including preliminary notes and ideas, project proposals, exhibition statements, and letters to curators and critics—most of which have never been previously published. Asher gave few interviews, didn't write art criticism, and rarely published extensive accounts of his own work. Yet writing was central to his artistic practice, serving as a tool for working out ideas, negotiating institutional parameters, and describing thought processes. In these texts, he considers writing and documentation, discusses artistic practice, offers notes for gallery and museum talks, presents artist statements for exhibition-goers, describes individual works and their situational context, and reflects on teaching and art education. Among other things, Asher provides his definition of site specificity, addresses the function of art in public space, and analyzes the intersection of teaching art and institutional models of education. Readers will see an artist at work, formulating ethical and political strategies for making art in a situational world.

A comprehensive and accessible account of the U.S. estate tax, examining its history and evolution, structure and inner workings, and economic consequences.

How we talk about games as real or not-real, and how that shapes what games are made and who is invited to play them.In videogame criticism, the worst insult might be "That's not a real game!” For example, "That's not a real game, it's on Facebook!” and "That's not a real game, it's a walking simulator!” But how do people judge what is a real game and what is not—what features establish a game's gameness? In this engaging book, Mia Consalvo and Christopher Paul examine the debates about the realness or not-realness of videogames and find that these discussions shape what games get made and who is invited to play them.Consalvo and Paul look at three main areas often viewed as determining a game's legitimacy: the game's pedigree (its developer), the content of the game itself, and the game's payment structure. They find, among other things, that even developers with a track record are viewed with suspicion if their games are on suspect platforms. They investigate game elements that are potentially troublesome for a game's gameness, including genres, visual aesthetics, platform, and perceived difficulty. And they explore payment models, particularly free-to-play—held by some to be a marker of illegitimacy. Finally, they examine the debate around such so-called walking simulators as Dear Esther and Gone Home. And finally, they consider what purpose is served by labeling certain games "real."

Why language ability remains resilient and how it shapes our lives.We acquire our native language, seemingly without effort, in infancy and early childhood. Language is our constant companion throughout our lifetime, even as we age. Indeed, compared with other aspects of cognition, language seems to be fairly resilient through the process of aging. In Changing Minds, Roger Kreuz and Richard Roberts examine how aging affects language—and how language affects aging. Kreuz and Roberts report that what appear to be changes in an older person's language ability are actually produced by declines in such other cognitive processes as memory and perception. Some language abilities, including vocabulary size and writing ability, may even improve with age. And certain language activities—including reading fiction and engaging in conversation—may even help us live fuller and healthier lives.Kreuz and Roberts explain the cognitive processes underlying our language ability, exploring in particular how changes in these processes lead to changes in listening, speaking, reading, and writing. They consider, among other things, the inability to produce a word that's on the tip of your tongue—and suggest that the increasing incidence of this with age may be the result of a surfeit of world knowledge. For example, older people can be better storytellers, and (something to remember at a family reunion) their perceived tendency toward off-topic verbosity may actually reflect communicative goals.

Leading economists address the ongoing challenges to economics in theory and practice in a time of political and economic crises.

An exploration of the scientific mindset—such character virtues as curiosity, veracity, attentiveness, and humility to evidence—and its importance for science, democracy, and human flourishing.Exemplary scientists have a characteristic way of viewing the world and their work: their mindset and methods all aim at discovering truths about nature. In An Instinct for Truth, Robert Pennock explores this scientific mindset and argues that what Charles Darwin called "an instinct for truth, knowledge, and discovery” has a tacit moral structure—that it is important not only for scientific excellence and integrity but also for democracy and human flourishing. In an era of "post-truth,” the scientific drive to discover empirical truths has a special value.Taking a virtue-theoretic perspective, Pennock explores curiosity, veracity, skepticism, humility to evidence, and other scientific virtues and vices. He explains that curiosity is the most distinctive element of the scientific character, by which other norms are shaped; discusses the passionate nature of scientific attentiveness; and calls for science education not only to teach scientific findings and methods but also to nurture the scientific mindset and its core values.Drawing on historical sources as well as a sociological study of more than a thousand scientists, Pennock's philosophical account is grounded in values that scientists themselves recognize they should aspire to. Pennock argues that epistemic and ethical values are normatively interconnected, and that for science and society to flourish, we need not just a philosophy of science, but a philosophy of the scientist.