Böcker i The MIT Press-serien

A cultural and philosophical history of neon, from Paris in the twentieth century to the perpetually switched-on present day.For most of us, the word neon conjures images of lights, colors, nightlife, and streets. It evokes the poetry of city nights. For Luis de Miranda, neon is a subject of philosophical curiosity. Being and Neonness is a cultural and philosophical history of neon, from early twentieth-century Paris to the electric, perpetually switched-on present day Manhattan. It is an inspired journey through a century of night, deciphering the halos of the past and the reflections of the present to shed light on the future.Invented in Paris in 1912, neon first appeared on a modest but arresting sign outside a small barbershop; the sign lit up number 14, Boulevard Montmartre, attracting so many passersby that the barber's revenues soon doubled. A century later, neon is no longer just a sign; it is a mythic object—a metonymy of contemporary identity and a metaphor for the present, signifying the ubiquity of commerce and the tautology of hypermodernity. But perhaps the noble gas of neon whispers something more, something deeper? In ten short, poetic yet precise chapters, de Miranda explores the neon lights of the twentieth century. He considers, among other historical curiosities, the neon compulsions of the Italian Futurists; the Soviet program of "neonization”; the Nazi's deployment of neon for propaganda purposes; Baudelaire's "halo” and Benjamin's "aura”; neon as a gas and crystallized chaos; neon and power; neon and capitalism—all of this backlit by an original reading of Sartre's Being and Nothingness. This English edition has been thoroughly revised and adapted from the French edition, L'être et le neon.

How the transformation of wireless technology and the creation of an interconnected world are changing our environment and our lives.

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.

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.

The main purpose of Lectures on Macroeconomics is to characterize and explain fluctuations in output, unemployment and movement in prices.Lectures on Macroeconomics provides the first comprehensive description and evaluation of macroeconomic theory in many years. While the authors' perspective is broad, they clearly state their assessment of what is important and what is not as they present the essence of macroeconomic theory today.The main purpose of Lectures on Macroeconomics is to characterize and explain fluctuations in output, unemployment and movement in prices. The most important fact of modern economic history is persistent long term growth, but as the book makes clear, this growth is far from steady. The authors analyze and explore these fluctuations.Topics include consumption and investment; the Overlapping Generations Model; money; multiple equilibria, bubbles, and stability; the role of nominal rigidities; competitive equilibrium business cycles, nominal rigidities and economic fluctuations, goods, labor and credit markets; and monetary and fiscal policy issues. Each of chapters 2 through 9 discusses models appropriate to the topic. Chapter 10 then draws on the previous chapters, asks which models are the workhorses of macroeconomics, and sets the models out in convenient form. A concluding chapter analyzes the goals of economic policy, monetary policy, fiscal policy, and dynamic inconsistency.Written as a text for graduate students with some background in macroeconomics, statistics, and econometrics, Lectures on Macroeconomics also presents topics in a self contained way that makes it a suitable reference for professional economists.

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.

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

What Is Architecture? An Essay On Landscapes, Buildings, And Machines --Paul Shepheard'This is one of the strangest and most enchanting books I have ever seen. It is like starting again; the same subject but seen with different eyes, told by different characters.'

A groundbreaking work synthesizing economics, political science, and history argues that a cost-benefit trade-off can explain the pattern of nation size and formation.

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.

Made in America identifies what is best and worth replicating in American industrial practice and sets out five national priorities for regaining the productive edge.

An examination of why paper continues to fill our offices and a proposal for better coordination of the paper and digital worlds.