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Error-Correcting Codes, by Professor Peterson, was originally published in 1961. Now, with E. J. Weldon, Jr., as his coauthor, Professor Peterson has extensively rewritten his material. The book contains essentially all of the material of the first edition; however, the authors state that because there has been so much new work published in error-correcting codes, the preparation of this second edition proved to be a much greater task than writing the original book. The major additions are the chapters on majority-logic codes, synchronization, and convolutional codes. Much new material has also been added to the chapters on important linear block codes and cyclic codes. The authors cite some highly regarded books on recent work done in Eastern Europe and an extensive bibliography on coding theory in the Soviet Union [sic]. In its much-expanded form, Error-Correcting Codes may be considered another valuable contribution to computer coding.

Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the "deaf century," conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, André Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs. From the late nineteenth century to the 1960s, the essays uncover the fantastic acoustic scenarios projected through the writings of Raymond Roussel; the aural objects of Marcel Duchamp; Dziga Vertov's proposal for a phonographic "laboratory of hearing"; the ZAUM language and Radio Sorcery conjured by Velimir Khlebnikov; the iconoclastic castaways of F. T. Marinetti's La Radia; the destroyed musics of the Surrealists; the noise bands of Russolo, Foregger, Varèse, and Cage; the contorted radio talk show delivered by Antonin Artaud; the labyrinthine inner journeys invoked by German Hörspiel; and the razor contamination and cut-up ventriloquism of William S. Burroughs.

Why the news about the global decline of infectious diseases is not all good.Plagues and parasites have played a central role in world affairs, shaping the evolution of the modern state, the growth of cities, and the disparate fortunes of national economies. This book tells that story, but it is not about the resurgence of pestilence. It is the story of its decline. For the first time in recorded history, virus, bacteria, and other infectious diseases are not the leading cause of death or disability in any region of the world. People are living longer, and fewer mothers are giving birth to many children in the hopes that some might survive. And yet, the news is not all good. Recent reductions in infectious disease have not been accompanied by the same improvements in income, job opportunities, and governance that occurred with these changes in wealthier countries decades ago. There have also been unintended consequences. In this book, Thomas Bollyky explores the paradox in our fight against infectious disease: the world is getting healthier in ways that should make us worry. Bollyky interweaves a grand historical narrative about the rise and fall of plagues in human societies with contemporary case studies of the consequences. Bollyky visits Dhaka—one of the most densely populated places on the planet—to show how low-cost health tools helped enable the phenomenon of poor world megacities. He visits China and Kenya to illustrate how dramatic declines in plagues have affected national economies. Bollyky traces the role of infectious disease in the migrations from Ireland before the potato famine and to Europe from Africa and elsewhere today. Historic health achievements are remaking a world that is both worrisome and full of opportunities. Whether the peril or promise of that progress prevails, Bollyky explains, depends on what we do next.A Council on Foreign Relations Book

A detailed examination of how the underlying technical structure of the Internet affects the economic environment for innovation and the implications for public policy.

Abusing Science is a manual for intellectual self-defense, the most complete available for presenting the case against Creationist pseudo-science. It is also a lucid exposition of the nature and methods of genuine science. The book begins with a concise introduction to evolutionary theory for non-scientists and closes with a rebuttal of the charge that this theory undermines religious and moral values. It will astonish many readers that this case must still be made in the 1980s, but since it must, Philip Kitcher makes it irresistibly and forcefully.Not long ago, a federal court struck down an Arkansas law requiring that "scientific" Creationism be taught in high school science classes. Contemporary Creationists may have lost one legal battle, but their cause continues to thrive. Their efforts are directed not only at state legislatures but at local school boards and textbook publishers. As Kitcher argues in this rigorous but highly readable book, the integrity of science is under attack. The methods of inquiry used in evolutionary biology are those which are used throughout the sciences. Moreover, modern biology is intertwined with other fields of science—physics, chemistry, astronomy, and geology. Creationists hope to persuade the public that education in science should be torn apart to make room for a literal reading of Genesis.Abusing Science refutes the popular complaint that the scientific establishment is dogmatic and intolerant, denying "academic freedom" to the unorthodox. It examines Creationist claims seriously and systematically, one by one, showing clearly just why they are at best misguided, at worst ludicrous.

A concise analysis of legal issues in the anarchic world of cyberspace (on-line services, bulletin board systems, and networks), for members of the on-line world who have little or no legal background. The author discusses issues such as copyright law, freedom of speech and adult material.

A comprehensive and accessible overview of major economic issues facing Latin America today, including balance-of-payments problems, inflation, stabilization and poverty. Each chapter centres on an economic problem, presenting economic theories about the causes and possible solutions.

The first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of "written photographs”), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his "postal photography” during the 1870-1871 Siege of Paris—an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.

This book analyzes how the bank-dominated financial system-a key element of the oft-heralded "Japanese economic model"-broke down in the 1990s and spawned sweeping reforms.

Stefan Brands proposes cryptographic building blocks for the design of digital certificates that preserve privacy without sacrificing security.

An investigation of how children balance rules and exceptions when they learn languages.

By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.By the time Goethe's Theory of Colours appeared in 1810, the wavelength theory of light and color had been firmly established. To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: "From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible.”Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The book does not have to be studied to be appreciated. Goethe's subjective theory of colors permits him to speak most persuasively of color harmony and aesthetics. In some readers these notions will evoke a positive response on their merits. Others may regard them as pure fantasy, but savor the grace and style of their exposition.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects—vessels, prisms, lenses, and the like—the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

According to Rosalind Picard, if we want computers to be genuinely intelligent and to interact naturally with us, we must give computers the ability to recognize, understand, even to have and express emotions.

The sequel to Bernard Tschumi's best-selling Event-Cities, documenting his recent architectural projects and updating his thoughts on architectures and cities.In Event-Cities (MIT Press, 1994), Bernard Tschumi expanded his architectural concerns to address the issue of cities and their making. Event-Cities 2 continues this project through new selections from his recent architectural projects. The book includes the first comprehensive documentation of the drawings for the award-winning Parc de la Villette (including many previously unpublished drawings), his project for the expansion of the Museum of Modern Art, two architectural schools, a concert and exhibition hall, a student center, a railway station, a department store, and other urban projects. Tschumi suggests that architecture can accelerate the events of everyday life through new forms of organization. Using various modes of notation ranging from rough models to sophisticated computer-generated images, he reveals the complexities of the architectural process and the rich texture of events that define urban reality today.

Over the past decade, a small group of economists has challenged traditional wisdom about international trade. Rethinking International Trade provides a coherent account of this research program and traces the key steps in an exciting new trade theory that offers, among other possibilities, new arguments against free trade.

This book is a critical reappraisal of contemporary theories of urban planning and design and of the role of the architect-planner in an urban context. The authors, rejecting the grand utopian visions of "total planning" and "total design," propose instead a "collage city" which can accommodate a whole range of utopias in miniature.

Through close reading of two major figures of modern architecture, Adolf Loos and Le Corbusier, this text argues that architecture only becomes modern in its engagement with the mass media. It suggests that modern architecture renegotiates the relationship between public and private.

Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.

When it was first published in 1972, Hubert Dreyfus's manifesto on the inherent inability of disembodied machines to mimic higher mental functions caused an uproar in the artificial intelligence community. The world has changed since then. Today it is clear that "good old-fashioned AI," based on the idea of using symbolic representations to produce general intelligence, is in decline (although several believers still pursue its pot of gold), and the focus of the Al community has shifted to more complex models of the mind. It has also become more common for AI researchers to seek out and study philosophy. For this edition of his now classic book, Dreyfus has added a lengthy new introduction outlining these changes and assessing the paradigms of connectionism and neural networks that have transformed the field.At a time when researchers were proposing grand plans for general problem solvers and automatic translation machines, Dreyfus predicted that they would fail because their conception of mental functioning was naive, and he suggested that they would do well to acquaint themselves with modern philosophical approaches to human beings. What Computers Can't Do was widely attacked but quietly studied. Dreyfus's arguments are still provocative and focus our attention once again on what it is that makes human beings unique.

This groundbreaking collection of thirteen original essays analyzes connections between film and two highly influential twentieth-century movements.

In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing—the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design.Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface.White Walls, Designer Dresses shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hard to suppress the color of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies discussions of clothing and color, recovering those sensuously colored surfaces and the extraordinary arguments about clothing that were used to defend them.

A study in the systematic policy analysis of the MIT Libraries. The study identifies two principal missions for the MIT library system: provide material for students' course work and provide material in general support of research at MIT. The problem is how to organize future library resources into a set of programs that best fulfill these objectives.