Böcker i The MIT Press-serien

An analysis of why people with knowledge about climate change often fail to translate that knowledge into action.Global warming is the most significant environmental issue of our time, yet public response in Western nations has been meager. Why have so few taken any action? In Living in Denial, sociologist Kari Norgaard searches for answers to this question, drawing on interviews and ethnographic data from her study of "Bygdaby," the fictional name of an actual rural community in western Norway, during the unusually warm winter of 2000-2001.In 2000-2001 the first snowfall came to Bygdaby two months later than usual; ice fishing was impossible; and the ski industry had to invest substantially in artificial snow-making. Stories in local and national newspapers linked the warm winter explicitly to global warming. Yet residents did not write letters to the editor, pressure politicians, or cut down on use of fossil fuels. Norgaard attributes this lack of response to the phenomenon of socially organized denial, by which information about climate science is known in the abstract but disconnected from political, social, and private life, and sees this as emblematic of how citizens of industrialized countries are responding to global warming.Norgaard finds that for the highly educated and politically savvy residents of Bygdaby, global warming was both common knowledge and unimaginable. Norgaard traces this denial through multiple levels, from emotions to cultural norms to political economy. Her report from Bygdaby, supplemented by comparisons throughout the book to the United States, tells a larger story behind our paralysis in the face of today's alarming predictions from climate scientists.

A long-overdue monograph on a sculptor who draws not only on minimalism and conceptualism but on a rich web of intellectual and visual sources to create postmodern work that is a "complex" of juxtapositions.Alice Aycock's large, semi-architectural works deal with the interaction of structure, site, materials, and the psychophysical responses of the viewer. Offered meaningful but contradictory clues by both her images and her texts, viewers attempt to discover not only what the work of art conveys but how it communicates its contents, in investigations that parallel the artist's own. In Alice Aycock: Sculpture and Projects, Robert Hobbs examines the development of Aycock's work over twenty years and her negotiation—along with other artists who came of age in the early 1970s—of the transition from modernism to postmodernism. "The problem," wrote Aycock in 1977, "seems to be how to connect without connecting." Hobbs describes Aycock's strategies for doing just this: for creating a work with disparate image and texts that offer a new perspective on reality. Influenced by the "specific objects" of minimalism's hybrid forms and by conceptualism's emphasis on language, Aycock relies on paradigms, cybernetics, phenomenology, physics, post-structuralism, psychoanalysis, information overload, outdated scientific thinking, and computer programming to create a "complex" that is architectural and sculptural as well as mental and emotional. Schizophrenia and other mental conditions, sometimes considered metaphors for the disconnections of postmodern existence, are specific sources of inspiration in Aycock's work. By exploring the physical and existential positions of isolation, estrangement, disorientation, entrapment and fear, her three-dimensional constructions not only posit alternative states of mind, they suppose possible narratives and suggest multiple truths and lies. Aycock's work invites the viewer to experience sculpture with the entire body and a fully mind. Her sculpture has had a transformative effect on the contemporary art experience.

How environmentalism can reinvent itself in a postnature age: a proposal for navigating between naive naturalism and technological arrogance.

A comprehensive overview of Earth's biosphere, written with scientific rigor and essay-like flair.

A proposal for a new global approach for fisheries focused on reducing fishing capacity and providing incentives for long-term sustainability.

Maps capture data expressing the economic complexity of countries from Albania to Zimbabwe, offering current economic measures and as well as a guide to achieving prosperityWhy do some countries grow and others do not? The authors of The Atlas of Economic Complexity offer readers an explanation based on "Economic Complexity," a measure of a society's productive knowledge. Prosperous societies are those that have the knowledge to make a larger variety of more complex products. The Atlas of Economic Complexity attempts to measure the amount of productive knowledge countries hold and how they can move to accumulate more of it by making more complex products.Through the graphical representation of the "Product Space," the authors are able to identify each country's "adjacent possible," or potential new products, making it easier to find paths to economic diversification and growth. In addition, they argue that a country's economic complexity and its position in the product space are better predictors of economic growth than many other well-known development indicators, including measures of competitiveness, governance, finance, and schooling.Using innovative visualizations, the book locates each country in the product space, provides complexity and growth potential rankings for 128 countries, and offers individual country pages with detailed information about a country's current capabilities and its diversification options. The maps and visualizations included in the Atlas can be used to find more viable paths to greater productive knowledge and prosperity.

An in-depth comparison of Wittgenstein and Heidegger shows how the views of both philosophers emerge from a fundamental attempt to dispense with the transcendent.

New ways to design spaces for online interaction--and how they will change society.

How America can rebuild its industrial landscape to sustain an innovative economy.

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

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other.Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames?Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the "hacker,” representing the hegemonic, masculine gamers concerned with control and configuration; and the "cyborg,” less concerned with control than with embodiment and incorporation.

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

More than 1,000 representations of the human figure in architectural drawings by architects ranging from Aalto to Zumthor, removed from their architectural context.Michael Meredith, Hilary Sample, and MOS present their rich findings on the human presence in architectural drawings not in any chronological or other linear order, but based on the convention of the encyclopedia, thus presenting (and perhaps deliberately condoning) surprise encounters made possible by the contingency created by alphabetical order..... From the contemporary perspective of a pluralistic world, the form of the encyclopedia may be particularly apt to represent such a vast body of material as is presented here: defying any linear historical account or master narrative, it invites the reader to construct his or her own readings of the material by establishing relationships between individual drawings.—From the foreword by Martino StierliThroughout history, across radically different movements in Western culture, the human figure appears and reappears, in multiple guises, to remind us, the observers, of architectural purpose and of our mutual position in the world....This encyclopedia has enlarged or reduced all figures to the same approximate scale. Meredith, Sample, and MOS have gathered them here in an unprecedented, intoxicating way, like being at a fabulous party.—From the afterword by Raymund RyanArchitects draw buildings, and the buildings they draw are usually populated by representations of the human figure—drawn, copied, collaged, or inserted—most often to suggest scale. It is impossible to represent architecture without representing the human form. This book collects more than 1,000 scale figures by 250 architects but presents them in a completely unexpected way: it removes them from their architectural context, displaying them on the page, buildingless, giving them lives of their own. They are presented not thematically or chronologically but encyclopedically, alphabetically by architect (Aalto to Zumthor). In serendipitous juxtapositions, the autonomous human figures appear and reappear, displaying endless variations of architecturally rendered human forms.Some architects' figures are casually srcawled; others are drawn carefully by hand or manipulated by Photoshop; some are collaged and pasted, others rendered in charcoal or watercolors. Leon Battista Alberti presents a trident-bearing god; the Ant Farm architecture group provides a naked John and Yoko; Archigram supplies its Air Hab Village with a photograph of a happy family. Without their architectural surroundings, the scale figures present themselves as architecture's refugees. They are the necessary but often overlooked reference points that give character to spaces imagined for but not yet occupied by humans. Here, they constitute a unique sourcebook and an architectural citizenry of their own.

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.

An examination of the many complex aspects of game audio, from the perspectives of both sound design and music composition.

Exploring the science in George R. R. Martin's fantastical world, from the physics of an ice wall to the genetics of the Targaryens and Lannisters.Game of Thrones is a fantasy that features a lot of made-up science—fabricated climatology (when is winter coming?), astronomy, metallurgy, chemistry, and biology. Most fans of George R. R. Martin's fantastical world accept it all as part of the magic. A trained scientist, watching the fake science in Game of Thrones, might think, "But how would it work?” In Fire, Ice, and Physics, Rebecca Thompson turns a scientist's eye on Game of Thrones, exploring, among other things, the science of an ice wall, the genetics of the Targaryen and Lannister families, and the biology of beheading. Thompson, a PhD in physics and an enthusiastic Game of Thrones fan, uses the fantasy science of the show as a gateway to some interesting real science, introducing GOT fandom to a new dimension of appreciation. Thompson starts at the beginning, with winter, explaining seasons and the very elliptical orbit of the Earth that might cause winter to come (or not come). She tells us that ice can behave like ketchup, compares regular steel to Valyrian steel, explains that dragons are "bats, but with fire,” and considers Targaryen inbreeding. Finally she offers scientific explanations of the various types of fatal justice meted out, including beheading, hanging, poisoning (reporting that the effects of "the Strangler,” administered to Joffrey at the Purple Wedding, resemble the effects of strychnine), skull crushing, and burning at the stake. Even the most faithful Game of Thrones fans will learn new and interesting things about the show from Thompson's entertaining and engaging account. Fire, Ice, and Physics is an essential companion for all future bingeing.

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.

Why you are more than just a brain, more than just a brain-and-body, and more than all your assumptions about who you are.