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Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us.Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology-taking its title from Mary Douglas's 1986 book, How Institutions Think-reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology.Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, "Thinking via Institution,” moves from the particular to the general; the second part, "Thinking about Institution,” considers broader questions about the nature of institutional frameworks.Contributors includeNatasa Petresin Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Céline Condorelli, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Grzinic, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson

A comprehensive political analysis of the rapid growth in renewable wind and solar power, mapping an energy transition through theory, case studies, and policy.

An introduction to dependent types, demonstrating the most beautiful aspects, one step at a time.A program's type describes its behavior. Dependent types are a first-class part of a language, and are much more powerful than other kinds of types; using just one language for types and programs allows program descriptions to be as powerful as the programs they describe. The Little Typer explains dependent types, beginning with a very small language that looks very much like Scheme and extending it to cover both programming with dependent types and using dependent types for mathematical reasoning. Readers should be familiar with the basics of a Lisp-like programming language, as presented in the first four chapters of The Little Schemer. The first five chapters of The Little Typer provide the needed tools to understand dependent types; the remaining chapters use these tools to build a bridge between mathematics and programming. Readers will learn that tools they know from programming—pairs, lists, functions, and recursion—can also capture patterns of reasoning. The Little Typer does not attempt to teach either practical programming skills or a fully rigorous approach to types. Instead, it demonstrates the most beautiful aspects as simply as possible, one step at a time.

How the approaches and methods of think tanks—including systems theory, operational research, and cybernetics—paved the way for a peculiar genre of midcentury modernism.In Think Tank Aesthetics, Pamela Lee traces the complex encounters between Cold War think tanks and the art of that era. Lee shows how the approaches and methods of think tanks—including systems theory, operations research, and cybernetics—paved the way for a peculiar genre of midcentury modernism and set the terms for contemporary neoliberalism. Lee casts these shadowy institutions as sites of radical creativity and interdisciplinary practice in the service of defense strategy. Describing the distinctive aesthetics that emerged from such institutions as the RAND Corporation, she maps the multiple and overlapping networks that connected nuclear strategists, mathematicians, economists, anthropologists, artists, designers, and art historians.Lee recounts, among other things, the decades-long colloquy between Albert Wohlstetter, a RAND analyst, and his former professor, the famous art historian Meyer Schapiro; the anthropologist Margaret Mead''s deployment of innovative visual aids that recall midcentury abstract art; and the combination of cybernetics and modernist design in an “Opsroom” for the short-lived socialist government of Salvador Allende in 1970s Chile (and its restaging many years later as a work of art). Lee suggests that we think of these connections less as disciplinary border crossings than as colonization of the specific interests of arts by the approaches and methods of the sciences. Hearing the echoes of think tank aesthetics in today''s pursuit of the interdisciplinary and in academia''s science-infused justification of the humanities, Lee wonders what territory has been ceded in a laboratory approach to the arts.

How to develop robots that will be more like humans and less like computers, more social than machine-like, and more playful and less programmed.Most robots are not very friendly. They vacuum the rug, mow the lawn, dispose of bombs, even perform surgery—but they aren't good conversationalists. It's difficult to make eye contact. If the future promises more human-robot collaboration in both work and play, wouldn't it be better if the robots were less mechanical and more social? In How to Grow a Robot, Mark Lee explores how robots can be more human-like, friendly, and engaging.Developments in artificial intelligence—notably Deep Learning—are widely seen as the foundation on which our robot future will be built. These advances have already brought us self-driving cars and chess match-winning algorithms. But, Lee writes, we need robots that are perceptive, animated, and responsive—more like humans and less like computers, more social than machine-like, and more playful and less programmed. The way to achieve this, he argues, is to "grow” a robot so that it learns from experience—just as infants do. After describing "what's wrong with artificial intelligence” (one key shortcoming: it's not embodied), Lee presents a different approach to building human-like robots: developmental robotics, inspired by developmental psychology and its accounts of early infant behavior. He describes his own experiments with the iCub humanoid robot and its development from newborn helplessness to ability levels equal to a nine-month-old, explaining how the iCub learns from its own experiences. AI robots are designed to know humans as objects; developmental robots will learn empathy. Developmental robots, with an internal model of "self,” will be better interactive partners with humans. That is the kind of future technology we should work toward.

Xavier Vives applies a modern game-theoretic approach to develop a theory of oligopoly pricing.

The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax.A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college's visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era.From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school's activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists' talks, and notes on memorable controversies.

An introduction to the basic concepts of 3D computer graphics that offers a careful mathematical exposition within a modern computer graphics application programming interface.

An integrated, holistic model for infrastructure planning and design in developing countries.

What it means for global sustainability when environmentalism is dominated by the concerns of the affluent-eco-business, eco-consumption, wilderness preservation.

The fortieth-anniversary edition of a classic and prescient work on death and dying.Much of today's literature on end-of-life issues overlooks the importance of 1970s social movements in shaping our understanding of death, dying, and the dead body. This anniversary edition of Lyn Lofland's The Craft of Dying begins to repair this omission. Lofland identifies, critiques, and theorizes 1970s death movements, including the Death Acceptance Movement, the Death with Dignity Movement, and the Natural Death movement. All these groups attempted to transform death into a "positive experience,” anticipating much of today's death and dying activism. Lofland turns a sociologist's eye on the era's increased interest in death, considering, among other things, the components of the modern "face of death” and the "craft of dying,” the construction of a dying role or identity by those who are dying, and the constraints on their freedom to do this. Lofland wrote just before the AIDS epidemic transformed the landscape of death and dying in the West; many of the trends she identified became the building blocks of AIDS activism in the 1980s and 1990s. The Craft of Dying will help readers understand contemporary death social movements' historical relationships to questions of race, class, gender, and sexuality and is a book that everyone interested in end-of-life politics should read.

A new theory about the origins of consciousness that finds learning to be the driving force in the evolutionary transition to basic consciousness.What marked the evolutionary transition from organisms that lacked consciousness to those with consciousness—to minimal subjective experiencing, or, as Aristotle described it, "the sensitive soul”? In this book, Simona Ginsburg and Eva Jablonka propose a new theory about the origin of consciousness that finds learning to be the driving force in the transition to basic consciousness. Using a methodology similar to that used by scientists when they identified the transition from non-life to life, Ginsburg and Jablonka suggest a set of criteria, identify a marker for the transition to minimal consciousness, and explore the far-reaching biological, psychological, and philosophical implications.After presenting the historical, neurobiological, and philosophical foundations of their analysis, Ginsburg and Jablonka propose that the evolutionary marker of basic or minimal consciousness is a complex form of associative learning, which they term unlimited associative learning (UAL). UAL enables an organism to ascribe motivational value to a novel, compound, non-reflex-inducing stimulus or action, and use it as the basis for future learning. Associative learning, Ginsburg and Jablonka argue, drove the Cambrian explosion and its massive diversification of organisms. Finally, Ginsburg and Jablonka propose symbolic language as a similar type of marker for the evolutionary transition to human rationality—to Aristotle's "rational soul.”

An introduction to awe-inspiring ideas at the brink of paradox: infinities of different sizes, time travel, probability and measure theory, and computability theory.This book introduces the reader to awe-inspiring issues at the intersection of philosophy and mathematics. It explores ideas at the brink of paradox: infinities of different sizes, time travel, probability and measure theory, computability theory, the Grandfather Paradox, Newcomb's Problem, the Principle of Countable Additivity. The goal is to present some exceptionally beautiful ideas in enough detail to enable readers to understand the ideas themselves (rather than watered-down approximations), but without supplying so much detail that they abandon the effort. The philosophical content requires a mind attuned to subtlety; the most demanding of the mathematical ideas require familiarity with college-level mathematics or mathematical proof.The book covers Cantor's revolutionary thinking about infinity, which leads to the result that some infinities are bigger than others; time travel and free will, decision theory, probability, and the Banach-Tarski Theorem, which states that it is possible to decompose a ball into a finite number of pieces and reassemble the pieces so as to get two balls that are each the same size as the original. Its investigation of computability theory leads to a proof of Gödel's Incompleteness Theorem, which yields the amazing result that arithmetic is so complex that no computer could be programmed to output every arithmetical truth and no falsehood. Each chapter is followed by an appendix with answers to exercises. A list of recommended reading points readers to more advanced discussions. The book is based on a popular course (and MOOC) taught by the author at MIT.

A unified treatment of the generation and analysis of brain-generated electromagnetic fields.In Brain Signals, Risto Ilmoniemi and Jukka Sarvas present the basic physical and mathematical principles of magnetoencephalography (MEG) and electroencephalography (EEG), describing what kind of information is available in the neuroelectromagnetic field and how the measured MEG and EEG signals can be analyzed. Unlike most previous works on these topics, which have been collections of writings by different authors using different conventions, this book presents the material in a unified manner, providing the reader with a thorough understanding of basic principles and a firm basis for analyzing data generated by MEG and EEG.The book first provides a brief introduction to brain states and the early history of EEG and MEG, describes the generation of electromagnetic fields by neuronal activity, and discusses the electromagnetic forward problem. The authors then turn to EEG and MEG analysis, offering a review of linear and matrix algebra and basic statistics needed for analysis of the data, and presenting several analysis methods: dipole fitting; the minimum norm estimate (MNE); beamforming; the multiple signal classification algorithm (MUSIC), including RAP-MUSIC with the RAP dilemma and TRAP-MUSIC, which removes the RAP dilemma; independent component analysis (ICA); and blind source separation (BSS) with joint diagonalization.

A state-of-the-art overview of the latest theory and research in music psychology, written by leaders in the field.This authoritative, landmark volume offers a comprehensive state-of-the-art overview of the latest theory and research in music perception and cognition. Eminent scholars from a range of disciplines, employing a variety of methodologies, describe important findings from core areas of the field, including music cognition, the neuroscience of music, musical performance, and music therapy. The book can be used as a textbook for courses in music cognition, auditory perception, science of music, psychology of music, philosophy of music, and music therapy, and as a reference for researchers, teachers, and musicians. The book's sections cover music perception; music cognition; music, neurobiology, and evolution; musical training, ability, and performance; and musical experience in everyday life. Chapters treat such topics as pitch, rhythm, and timbre; musical expectancy, musicality, musical disorders, and absolute pitch; brain processes involved in music perception, cross-species studies of music cognition, and music across cultures; improvisation, the assessment of musical ability, and singing; and music and emotions, musical preferences, and music therapy.ContributorsFleur Bouwer, Peter Cariani, Laura K. Cirelli, Annabel J. Cohen, Lola L. Cuddy, Shannon de L'Etoile, Jessica A. Grahn, David M. Greenberg, Bruno Gingras, Henkjan Honing, Lorna S. Jakobson, Ji Chul Kim, Stefan Koelsch, Edward W. Large, Miriam Lense, Daniel Levitin, Charles J. Limb, Psyche Loui, Stephen McAdams, Lucy M. McGarry, Malinda J. McPherson, Andrew J. Oxenham, Caroline Palmer, Aniruddh Patel, Eve-Marie Quintin, Peter Jason Rentfrow, Edward Roth, Frank A. Russo, Rebecca Scheurich, Kai Siedenburg, Avital Sternin, Yanan Sun, William F. Thompson, Renee Timmers, Mark Jude Tramo, Sandra E. Trehub, Michael W. Weiss, Marcel Zentner

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.

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.

Researchers rethink tactics for inventing and disseminating research, examining the use of such unconventional forms as poetry, performance, catalogs, interactive machines, costume, and digital platforms.Transmission is the research moment when invention meets dissemination—the tactical combination of making (how theory, methods, and data shape research) and communicating (how research is shown and shared). In this book, researchers from a range of disciplines examine tactics for the transmission of research, exploring such unconventional forms as poetry, performance, catalogs, interactive machines, costume, and digital platforms. Focusing on transmissions draws attention to a critical part of the research process commonly overlooked and undervalued. Too often, the results of radically experimental research methodologies are pressed into conventional formats. The contributors to Transmissions rethink tactics for making and communicating research as integral to the kind of projects they do, pushing against disciplinary edges with unexpected and creative combinations and collaborations.Each chapter focuses on a different tactic of transmission. One contributor merges literary styles of the empirical and poetic; another uses an angle grinder to construct machines of enquiry. One project invites readers to participate in an exchange about value; another provides a series of catalog cards to materialize ordering systems of knowledge. All the contributors share a commitment to uniting the what with the how, firmly situating their transmissions in their research and in each unique chapter of this book.ContributorsNerea Calvillo, Rebecca Coleman, Larissa Hjorth, Janis Jefferies, Kat Jungnickel, Sarah Kember, Max Liboiron, Kristina Lindström, Alexandra Lippman, Bonnie Mak, Julien McHardy, Julia Pollack, Ingrid Richardson, Åsa Ståhl, Laura Watts

An argument that what makes science distinctive is its emphasis on evidence and scientists' willingness to change theories on the basis of new evidence.

An argument that Modernism is a cognitive phenomenon rather than a cultural one.At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature." In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography. Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for "first photographer," then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.

An examination of the role of sound in twentieth-century arts.This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

A comprehensive textbook that integrates tools from technology, economics, markets, and policy to approach energy issues using a dynamic systems and capital-centric perspective.The global energy system is the vital foundation of modern human industrial society. Traditionally studied through separate disciplines of engineering, economics, environment, or public policy, this system can be fully understood only by using an approach that integrates these tools. This textbook is the first to take a dynamic systems perspective on understanding energy systems, tracking energy from primary resource to final energy services through a long and capital-intensive supply chain bounded by both macroeconomic and natural resource systems.The book begins with a framework for understanding how energy is transformed as it moves through the system with the aid of various types of capital, its movement influenced by a combination of the technical, market, and policy conditions at the time. It then examines the three primary energy subsystems of electricity, transportation, and thermal energy, explaining such relevant topics as systems thinking, cost estimation, capital formation, market design, and policy tools. Finally, the book reintegrates these subsystems and looks at their relation to the economic system and the ecosystem that they inhabit. Practitioners and theorists from any field will benefit from a deeper understanding of both existing dynamic energy system processes and potential tools for intervention.

A comprehensive, state-of-the-art guide to site planning, covering planning processes, new technologies, and sustainability, with extensive treatment of practices in rapidly urbanizing countries.