Books published by The University of Chicago Press

An insightful look at how avant-garde musicians of the postwar period in New York explored the philosophical dimensions of music's ineffability. The Musician as Philosopher explores the philosophical thought of avant-garde musicians in postwar New York: David Tudor, Ornette Coleman, the Velvet Underground, Alice Coltrane, Patti Smith, and Richard Hell. It contends that these musicians--all of whom are understudied and none of whom are traditionally taken to be composers--not only challenged the rules by which music is written and practiced but also confounded and reconfigured gendered and racialized expectations for what critics took to be legitimate forms of musical sound. From a broad historical perspective, their arresting music electrified a widely recognized social tendency of the 1960s: a simultaneous affirmation and crisis of the modern self.

Interrogates the connections between a city's physical landscape and the poverty and social problems that are often concentrated at its literal lowest points. In Urban Lowlands, Steven T. Moga looks closely at the Harlem Flats in New York City, Black Bottom in Nashville, Swede Hollow in Saint Paul, and the Flats in Los Angeles, to interrogate the connections between a city's actual landscape and the poverty and social problems that are often concentrated at its literal lowest points. Taking an interdisciplinary perspective on the history of US urban development from the nineteenth to the mid-twentieth century, Moga reveals patterns of inequitable land use, economic dispossession, and social discrimination against immigrants and minorities. In attending to the landscapes of neighborhoods typically considered slums, Moga shows how physical and policy-driven containment has shaped the lives of the urban poor, while wealth and access to resources have been historically concentrated in elevated areas--truly "the heights." Moga's innovative framework expands our understanding of how planning and economic segregation alike have molded the American city.

"Amid sweeping conversations about the future of artificial intelligence and its impact on US industry and economy, one economic domain has remained relatively insulated from the discussion: health care. How is it possible that an industry so bemoaned for inefficiency and expense, an industry so large that it now makes up a quarter of the US economy, could escape the efficiency- and cost-driven disruptions of AI? How are doctor's offices still relying on fax machines in the age of driverless cars? Why is it the one industry where we'd like to see AI try some things the one that machines can't seem to infiltrate? The Economics of Artificial Intelligence: Health Care Challenges convenes contributions from health economists, physicians, philosophers, and legal scholars to identify the primary barriers to entry for AI in America's biggest industry. Across original papers and wide-ranging written responses, they find five domains of barriers: incentives; management; data availability; regulation. They also find evidence of real opportunity: AI has promise to improve outcomes and lower costs, and if paths to intervention are seized upon, improvements will follow"--

"Everyone's a critic-in the best way. Criticism is what we do when we face a work or event that bowls us over and makes us scramble for a response. We're motivated to criticism by a series of realizations: Something speaks to me, I need to tell you about it, I don't know how. This, Michel Chaouli argues, is the heart of criticism and its difficulty, no matter its form, no matter its refinement. Criticism arises fundamentally from the need to share what overwhelms us. This is not how we usually think of criticism, which we tend to associate with the worlds of scholarship and journalism, with professionals careful not to show themselves being bowled over. But Chaouli is not describing professional criticism per se, but what he calls "poetic criticism." At the same time, he holds that even the stiffest professional criticism "holds somewhere within it, often well hidden, a vulnerability to being jolted by what speaks to it." For Chaouli, the point is not to set poetic criticism against non-poetic criticism, but to encourage more criticism to be done poetically. Written in the mode of a philosophical essay, Something Speaks to Me is less concerned with joining academic debates than with communicating the urgency of criticism in ways that transcend scholarly argument and appeal to readers unschooled in theory"--

Exploring everything from nutrients to food acquisition and research methods, a comprehensive synthesis of the study of food and feeding in nonhuman primates. What do we mean when we say that a diet is nutritious? Why is it that some animals can get all the energy they need from eating leaves while others would perish on such a diet? Why don't mountain gorillas eat fruit all day like chimpanzees do? Answers to these questions about food and feeding are among the many tasty morsels that emerge from this authoritative book. Informed by the latest scientific tools and millions of hours of field and laboratory work on species across the primate order and around the globe, this volume is an exhaustive synthesis of our understanding of what, why, and how primates eat what they eat. State-of-the-art information presented at physiological, behavioral, ecological, and evolutionary scales will serve as a road map for graduate students, researchers, and practitioners as they work toward a holistic understanding of life as a primate and the urgent conservation consequences of diet and food availability in a changing world.

"For decades, Virginia Woolf's work has been seen as part of the "women's writing" canon. Elizabeth Abel extracts Woolf from this women's tradition to position her in a different light, one that shows Woolf's role in a far-reaching modernist genealogy. Abel traces the strong echoes of Woolf in the work of four major writers from diverse cultural contexts: Nella Larsen, James Baldwin, Roland Barthes, and W. G. Sebald. As Abel shows, what Woolf called the "odd affinities" between herself and these successors give us an altogether different picture of the development of transnational modernism, with Woolf as a shadowy but important connection among disparate writers. By charting new pathways of twentieth-century literary transmission, Odd Affinities will appeal to students and scholars working in New Modernist studies, comparative literature, and African American studies"--

This heartfelt collection is a testament to sociology's power to heal people and transform societies. The world is a tough place right now. Climate change, income inequality, racist violence, and the erosion of democracy have exposed the vulnerability of our individual and collective futures. But as the sociologists gathered here by Marika Lindholm and Elizabeth Wood show, no matter how helpless we might feel, it's vital that we discover new paths toward healing and change. The short, accessible, emotionally and intellectually powerful essays in Between Us offer a transformative new way to think about sociology and its ability to fuel personal and social change. These forty-five essays reflect a diverse range of experiences. Whether taking an adult son with autism grocery shopping or fighting fires in Barcelona, contending with sexism at the beach or facing racism at a fertility clinic, celebrating one's immigrant heritage, or acknowledging one's KKK ancestors, this book shows students that sociology is deeply rooted in everyday life and can be used to help us process and understand it. A perfect introduction to the discipline and why it matters, Between Us will resonate with students from all backgrounds as they embark on their academic journey.

"The women's health movement in the United States, beginning in 1969 and taking hold in the 1970s, was a broad-based movement seeking to increase women's bodily knowledge, reproductive control, and well-being. It was a political movement that insisted that bodily autonomy provided the key to women's liberation. It was also an institution-building movement that sought to transform women's relationship with medicine; it was dedicated to increasing women's access to affordable health care without the barriers of homophobia, racism, and sexism. But the movement did not only focus on women's bodies. It also encouraged activists to reimagine their relationships with one another, to develop their relationships in the name of personal and political change, and, eventually, to discover and confront the limitations of the bonds of womanhood. This book examines historically the emergence, development, travails, and successes of the women's health movement in the United States. By bringing medical history and the history of women's bodies into our emerging understandings of second-wave feminism, the author sheds light on the understudied health needs and health activism of lesbians and others outside the hospital-in the home, the dispensary, the church basement, the bookshop, and the clinic. At its center are the politics, institutions, and relationships created by and within the women's health movement, depicted primarily from the perspective of the activists who shaped its priorities, fought its battles, and struggled with its shortcomings"--

"Heather Hendershot argues that a moment long understood as sitting at the crux of American political history-the chaos of the 1968 Democratic convention in Chicago-is also crucial to understanding the country's media history. By scrutinizing those events and broadcasts in precise detail, Hendershot documents the emergence of the idea that the media are inherently liberal. As she shows, the public was unwilling to accept what was happening, and when exposed to even a fraction of the chaos, recoiled at what they thought could only be the malicious bias of the gatekeepers of the airwaves"--

"From precognitive dreams and telepathic visions to near-death experiences, UFO encounters, and beyond, so-called impossible phenomena are not supposed to happen, but do happen all the time. These are the kinds of fantastic experiences that Jeffrey J. Kripal takes up in How to Think Impossibly. The impossible, Kripal asserts, is a function not of reality, but of our present social constructions and subsequent perceptions and cognitions. In other words, we think these events and experiences are impossible, but they are only impossible within our historically constructed frameworks. In How to Think Impossibly, Kripal thinks-with specific individuals and their extraordinary experiences in vulnerable, open, and often humorous ways. These lines of thought interweave the mental and material dimensions of humanistic and scientific inquiry, resulting in a developing awareness in the reader that what we think of as the impossible is not impossible at all"--

"The group of artists known as the "Pictures Generation" are usually thought to have rebelled against abstract and minimalist art by bringing back figural techniques and borrowing liberally from the aesthetics of mass media and advertising. Challenging conventional interpretations of this group, Alexander Bigman argues that these artists-especially Robert Longo, Jack Goldstein, Sarah Charlesworth, Gretchen Bender, and Troy Brauntuch-deployed totalitarian and fascist iconography to pose new, politically loaded questions about what it means to perceive the world historically in a society saturated by images. Throughout, he also situates their work in the context of other developments taking place in New York City at the time, including music, fashion, cinema, and literature. This is a book about art, popular culture, and memory, and especially about how the specter of fascism loomed for these artists in the 1970s and 1980s, and the ways it still looms for us today"--

"Flying saucers. Bigfoot. Frogs raining from the sky. Such phenomena fascinated Charles Fort, the maverick writer who scanned newspapers, journals, and magazines for reports of bizarre occurrences: dogs that talked, vampires, strange visions in the sky, and paranormal activity. His books of anomalies advanced a philosophy that saw science as a small part of a larger system in which truth and falsehood continually transformed into one another. His work found a ragged following of skeptics who questioned not only science but the press, medicine, and politics. Through their worldviews varied, they shared compelling questions about genius, reality, and authority. At the center of the community was adman, writer, and enfant terrible Tiffany Thayer, who founded the Fortean SOciety and ran it for almost three decades, collecting and reporting on every manner of oddity and conspiracy. In Think to New Worlds, Joshua Blu Buhs argues that the FOrtean effect on modern culture is deeper than you think. Fort's descending provided tools to expand the imagination, explore the social order, and demonstrate how power is exercised. Science fiction writers put these ideas to work as they sought to uncover the hidden structures undergirding reality. Avant-garde modernists--including the authors William Gaddis, Henry Miller, and Ezra Pount, as well as Surrealist visual artists--were inspired by Fort's writing about metaphysical and historical forces. And in the years following World War II, flying saucer enthusiasts convinced of alien life raised questions about who controlled the universe."--Publisher marketing.

"Though widely recognized as the founder of the legendary Fluxus movement, George Maciunas has long been a puzzling figure in the history of twentieth-century art. Many have questioned whether he should be considered an artist at all. In Fluxus Administration, critic and art historian Colby Chamberlain reveals the consistent artistic practice hidden behind Maciunas's varied work in architecture, music, performance, publication, graphic design, film, and real estate as an attempt to create models for community through structures of bureaucracy. In this deeply researched study, Chamberlain traces how Maciunas's art insinuated itself into settings as unlikely as the routes of the postal service, the fine print of copyright law, the zoning strictures of urban planning, and the corridors of hospitals. These shifting frames of reference expand our understanding of where an artistic practice can operate and what forms it might assume. In particular, Chamberlain draws on media theory to highlight Maciunas's ingeniously crafted paperwork, much of which is beautifully reproduced here for the first time"--