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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.

Connecting New England''s historical spiritualist and utopian traditions—from Brook Farm to Harvard''s LSD research—to work by contemporary artists with regional ties.New England has a rich history of spiritual, mystical, and utopian strivers. Their visionary schemes range from nineteenth-century Transcendentalist experiments in communal living at Brook Farm and Fruitlands to the Harvard Project''s LSD research, led by Timothy Leary, in the mid-twentieth century. The search for alternative ways of life often overlapped with the search for the Divine or expanded modes of consciousness and creativity. Visionary New England, which accompanies an exhibition at the deCordova Sculpture Park and Museum, connects these traditions to the work of ten contemporary artists with New England ties. Generously illustrated, with ninety color images, the book interweaves analysis and imagery of New England''s visionary traditions with reproductions of paintings, photographs, video, and installations by the artists. Essays examine New England''s spiritualist and utopian practices; Transcendentalist writers'' conception of Nature as “Other”; and the social significance of spiritualism. Texts by exhibiting artists Anna Craycroft and Candice Lin address the pedagogy of Amos Bronson Alcott, cofounder of Fruitlands, and the effects of opium trade in New England.Visionary New England bridges past and present, offering a new lens through which to understand contemporary art.Essays bySarah J. Montross, Richard Hardack, Lisa Crossman, Anna CraycroftArtistsGayleen Aiken, Caleb Charland, Anna Craycroft, Angela Dufresne, Sam Durant, Josephine Halvorson, Paul Laffoley, Candice Lin, Michael Madore, Kim Weston

Here, Murray shows how the computer is reshaping the stories we live by and discusses the properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative.

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

A provocative argument that unless Europe takes serious action soon, its economic and political decline is unavoidable, and a clear statement of the steps Europe must take before it's too late.

Studies of the co-construction of technology and modernity that lay the foundation for a new, interdisciplinary field.

Goethe's influential text, newly illustrated with stunning color photographs.The Metamorphosis of Plants, published in 1790, was Goethe's first major attempt to describe what he called in a letter to a friend "the truth about the how of the organism.” Inspired by the diversity of flora he found on a journey to Italy, Goethe sought a unity of form in diverse structures. He came to see in the leaf the germ of a plant's metamorphosis—"the true Proteus who can hide or reveal himself in all vegetal forms”—from the root and stem leaves to the calyx and corolla, to pistil and stamens. With this short book—123 numbered paragraphs, in the manner of the great botanist Linnaeus—Goethe aimed to tell the story of botanical forms in process, to present, in effect, a motion picture of the metamorphosis of plants. This MIT Press edition of The Metamorphosis of Plants illustrates Goethe's text (in an English translation by Douglas Miller) with a series of stunning and starkly beautiful color photographs as well as numerous line drawings. It is the most completely and colorfully illustrated edition of Goethe's book ever published. It demonstrates vividly Goethe's ideas of transformation and interdependence, as well as the systematic use of imagination in scientific research—which influenced thinkers ranging from Darwin to Thoreau and has much to teach us today about our relationship with nature.

A rigorous introduction to optimal control theory, with an emphasis on applications in economics.

How the chip industry has responded to a series of crises over the past twenty-five years, often reinventing itself and shifting the basis for global competitive advantage.

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.

Why policies should be based on careful consideration of their costs and benefits rather than on intuition, popular opinion, interest groups, and anecdotes.Opinions on government policies vary widely. Some people feel passionately about the child obesity epidemic and support government regulation of sugary drinks. Others argue that people should be able to eat and drink whatever they like. Some people are alarmed about climate change and favor aggressive government intervention. Others don't feel the need for any sort of climate regulation. In The Cost-Benefit Revolution, Cass Sunstein argues our major disagreements really involve facts, not values. It follows that government policy should not be based on public opinion, intuitions, or pressure from interest groups, but on numbers—meaning careful consideration of costs and benefits. Will a policy save one life, or one thousand lives? Will it impose costs on consumers, and if so, will the costs be high or negligible? Will it hurt workers and small businesses, and, if so, precisely how much?As the Obama administration's "regulatory czar,” Sunstein knows his subject in both theory and practice. Drawing on behavioral economics and his well-known emphasis on "nudging,” he celebrates the cost-benefit revolution in policy making, tracing its defining moments in the Reagan, Clinton, and Obama administrations (and pondering its uncertain future in the Trump administration). He acknowledges that public officials often lack information about costs and benefits, and outlines state-of-the-art techniques for acquiring that information. Policies should make people's lives better. Quantitative cost-benefit analysis, Sunstein argues, is the best available method for making this happen—even if, in the future, new measures of human well-being, also explored in this book, may be better still.

An intellectual biography of Alfred H. Barr, Jr. founding director of the Museum of Modern Art.Growing up with the twentieth century, Alfred Barr (1902-1981), founding director of the Museum of Modern Art, harnessed the cataclysm that was modernism. In this book—part intellectual biography, part institutional history—Sybil Gordon Kantor tells the story of the rise of modern art in America and of the man responsible for its triumph. Following the trajectory of Barr's career from the 1920s through the 1940s, Kantor penetrates the myths, both positive and negative, that surround Barr and his achievements.Barr fervently believed in an aesthetic based on the intrinsic traits of a work of art and the materials and techniques involved in its creation. Kantor shows how this formalist approach was expressed in the organizational structure of the multidepartmental museum itself, whose collections, exhibitions, and publications all expressed Barr's vision. At the same time, she shows how Barr's ability to reconcile classical objectivity and mythic irrationality allowed him to perceive modernism as an open-ended phenomenon that expanded beyond purist abstract modernism to include surrealist, nationalist, realist, and expressionist art.Drawing on interviews with Barr's contemporaries as well as on Barr's extensive correspondence, Kantor also paints vivid portraits of, among others, Jere Abbott, Katherine Dreier, Henry-Russell Hitchcock, Philip Johnson, Lincoln Kirstein, Agnes Mongan, J. B. Neumann, and Paul Sachs.

The first biography of the enigmatic dadaist known as "the Baroness"—Elsa von Freytag-Loringhoven.Elsa von Freytag-Loringhoven (1874-1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars.In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.

In 1978, while collecting documentary photographs of the artists' community in Montparnasse from the first decades of the century, Billy Klüver discovered that some previously unassociated photographs fell into significant groupings. One group in particular, showing Picasso, Max Jacob, Moïse Kisling, Modigliani, and others at the Café de la Rotonde and on Boulevard du Montparnasse, all seemed to have been taken on the same day. The people were wearing the same clothes in each shot and had the same accessories. Their ties were knotted the same way and their collars had the same wrinkles. A total of twenty-four photographs—four rolls of film with six photographs each—were eventually found. With the challenge of identifying the date, photographer, and circumstances, Klüver embarked on an inquiry that would illuminate the minute texture of that time and place.Biographical research into the subjects' lives led Klüver to focus on the summer of 1916 as the likely time the photos were taken. He then measured buildings and plotted angles and lengths of shadows in the photographs to narrow the time frame to a spread of three weeks. Further investigation eventually allowed Klüver to identify the photographer as Jean Cocteau and to determine the day that Cocteau had taken the photographs: August 12, 1916. A computer printout of the sun's positions on that date, obtained from the Bureau des Longitudes, together with the length of the shadows, enabled Klver to calculate the time of day of each photograph, and thus to put them in proper sequence.In a tour de force of art historical research, Klüver then reconstructed a scenario of the events of the four hours depicted in the photographs. With evocative attention to detail—noting when Picasso is no longer carrying an envelope or Max Jacob has acquired a decoration in his lapel—Klüver recreates a single afternoon in the lives of Picasso and friends, a group of remarkable people in early twentieth-century Paris.Besides the central "portfolio" of photographs by Cocteau, the book contains additional photographs and drawings, short biographies of all the subjects, and a historical section on the events and activities in the Paris art world at the time.

Interdisciplinary approaches to identifying, understanding, and remediating people's reliance on inaccurate information that they should know to be wrong.

Behind-the-scenes stories of how Internet research projects actually get done.

An introduction to information retrieval, the foundation for modern search engines, that emphasizes implementation and experimentation.Information retrieval is the foundation for modern search engines. This textbook offers an introduction to the core topics underlying modern search technologies, including algorithms, data structures, indexing, retrieval, and evaluation. The emphasis is on implementation and experimentation; each chapter includes exercises and suggestions for student projects. Wumpus—a multiuser open-source information retrieval system developed by one of the authors and available online—provides model implementations and a basis for student work. The modular structure of the book allows instructors to use it in a variety of graduate-level courses, including courses taught from a database systems perspective, traditional information retrieval courses with a focus on IR theory, and courses covering the basics of Web retrieval. In addition to its classroom use, Information Retrieval will be a valuable reference for professionals in computer science, computer engineering, and software engineering.

Artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, investigate one of the most vital areas of cultural practice: documentary.Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of "fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry. Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the "documentary turn” of contemporary art. They discuss digital technology and the "crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for "informatic opacity” as a means of evasion.ContributorsAriella Azoulay, Zach Blas, Christa Blümlinger, Stella Bruzzi, Lucien Castaing-Taylor, Kris Fallon, Evgenia Giannouri, Ben Lerner, SylveÌre Lotringer, Antonia Majaca, Sohrab Mohebbi, Volker Pantenburg, Veìreìna Paravel, Christopher Pinney, Ben Rivers, and Eyal SivanCopublished with the Haus der Kulturen der Welt (HKW), Berlin

A leading innovation scholar explains the growing phenomenon and impact of free innovation, in which innovations developed by consumers and given away "for free."

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