Böcker utgivna av MIT Press Ltd

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.

How are we able to understand each other in our daily interactions? Through the use of such 'folk' concepts as belief, desire, intention, and expectation, Daniel Dennett asserts in this first fullscale presentation of a theory of intentionality that he has been developing for almost twenty years. We adopt a stance, a predictive strategy of interpretation that presupposes the rationality of the people-or other entities-we are hoping to understand and predict.

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.

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.

The notion that "thinking about computing is one of the most exciting things the human mind can do" sets both The Little Schemer (formerly known as The Little LISPer) and its new companion volume, The Seasoned Schemer, apart from other books on LISP. The authors' enthusiasm for their subject is compelling as they present abstract concepts in a humorous and easy-to-grasp fashion. Together, these books will open new doors of thought to anyone who wants to find out what computing is really about. The Little Schemer introduces computing as an extension of arithmetic and algebra; things that everyone studies in grade school and high school. It introduces programs as recursive functions and briefly discusses the limits of what computers can do. The authors use the programming language Scheme, and interesting foods to illustrate these abstract ideas. The Seasoned Schemer informs the reader about additional dimensions of computing: functions as values, change of state, and exceptional cases. The Little LISPer has been a popular introduction to LISP for many years. It had appeared in French and Japanese. The Little Schemer and The Seasoned Schemer are worthy successors and will prove equally popular as textbooks for Scheme courses as well as companion texts for any complete introductory course in Computer Science.

The author's purpose is to set out as simply and vividly as possible the exact grammatical workings of an architectural language.Classical architecture is a visual "language" and like any other language has its own grammatical rules. Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the "Latin" of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself. In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of "the orders" and the scope of "rustication"; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the "modern" architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

A classic examination of superb design through the centuries.Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence—ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace—Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience.In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in "a remarkably suitable comeliness.” While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time—its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered "what instrument the architect plays on.”

What determines the size and form of redistributive programs, the extent and type of public goods provision, the burden of taxation across alternative tax bases, the size of government deficits, and the stance of monetary policy during the course of business and electoral cycles? A large and rapidly growing literature in political economics attempts to answer these questions. But so far there is little consensus on the answers and disagreement on the appropriate mode of analysis.Combining the best of three separate traditions—the theory of macroeconomic policy, public choice, and rational choice in political science—Torsten Persson and Guido Tabellini suggest a unified approach to the field. As in modern macroeconomics, individual citizens behave rationally, their preferences over economic outcomes inducing preferences over policy. As in public choice, the delegation of policy decisions to elected representatives may give rise to agency problems between voters and politicians. And, as in rational choice, political institutions shape the procedures for setting policy and electing politicians. The authors outline a common method of analysis, establish several new results, and identify the main outstanding problems.

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.