Whether they realize it or not, scientists always choose sides. The Dialectical Biologist explores this political nature of scientific inquiry, advancing its argument within the framework of Marxist dialectic. These essays stress the concepts of continual change and codetermination between organism and environment, part and whole, structure and process, science and politics. Throughout, this book questions our accepted definitions and biases, showing the self-reflective nature of scientific activity within society.

    This wide spread mood in literature had a major effect on 19th-century poets and painters, and the affinities between them and their 20th-centurycounterparts makes this account of the Romantic-Decadents an indispensible guide to the study of modern literature.

    He manned the barricades against superstition and pseudoscience, and pressed for a scientifically literate populace years before science had been deemed worthy of common study. A friend of Charles Dickens and an inspiration to Thomas Edison, the deeply religious Faraday sought no financial gain from his discoveries, content to reveal God's presence through the design of nature. Faraday speaks to us today through the prose of his letters and journals. In The Electric Life of Michael Faraday, Alan Hirshfeld presents an intimate and memorable portrait of an icon of science, making Faraday's most significant discoveries about electricity and magnetism readily understandable, and immortalizing his momentous contributions to the modern world.

    The fascinating story of the golden period from the revelation of the double helix of DNA to the cracking of the genetic code and first glimpses of gene regulation is told largely in the words of the main players, all of whom Judson interviewed extensively. The result is a book widely regarded as the best history of recent biological science yet published.This commemorative edition, honoring the memory of the author who died in 2011, contains essays by his daughter Olivia Judson, Matthew Meselson, and Mark Ptashne and an obituary by Jason Pontin. It contains all the content added to previous editions, including essays on some of the principal historical figures involved, such as Rosalind Franklin, and a sketch of the further development of molecular biology in the era of recombinant DNA.

    In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. The earthy and the exalted, the imperfect and the ideal: things, spaces, high art, sounds, aromas, nothingness. Sartwell writes about handfuls of beautiful things - among them, a Japanese teapot and Diana Rigg as Mrs. Emma Peel, the pleasure in a well-used hammer and in pop music and in Vermeer's "Girl in a Red Hat."In Sartwell's hands these six names of beauty -and there could be thousands more-are revealed as simple and profound ideas about our world and our selves.

    Finding this natural basis of life has proved elusive, but in the eloquent and creative Into the Cool, Eric D. Schneider and Dorion Sagan look for answers in a surprising place: the second law of thermodynamics. This second law refers to energy's inevitable tendency to change from being concentrated in one place to becoming spread out over time. In this scientific tour de force, Schneider and Sagan show how the second law is behind evolution, ecology,economics, and even life's origin.Working from the precept that "nature abhors a gradient," Into the Cool details how complex systems emerge, enlarge, and reproduce in a world tending toward disorder. From hurricanes here to life on other worlds, from human evolution to the systems humans have created, this pervasive pull toward equilibrium governs life at its molecular base and at its peak in the elaborate structures of living complex systems. Schneider and Sagan organize their argument in a highly accessible manner, moving from descriptions of the basic physics behind energy flow to the organization of complex systems to the role of energy in life to the final section, which applies their concept of energy flow to politics, economics, and even human health.A book that needs to be grappled with by all those who wonder at the organizing principles of existence, Into the Cool will appeal to both humanists and scientists. If Charles Darwin shook the world by showing the common ancestry of all life, so Into the Cool has a similar power to disturb—and delight—by showing the common roots in energy flow of all complex, organized, and naturally functioning systems.“Whether one is considering the difference between heat and cold or between inflated prices and market values, Schneider and Sagan argue, we can apply insights from thermodynamics and entropy to understand how systems tend toward equilibrium. The result is an impressive work that ranges across disciplinary boundaries and draws from disparate literatures without blinking.”—Publishers Weekly

    Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art—from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin—the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction—twenty questions, each one posed to Schjeldahl by a different artist or writer—this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes:     • large-scale exhibitions at leading institutions around the world     • shows at private galleries     • profiles of prominent members of the art world     • personal accounts of time spent with artists     • the influences of museum spaces on our experience of art

    In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.

    At its heart is the discovery of the order that lies deep within the most complex of systems, from the origin of life, to the workings of giant corporations, to the rise and fall of greatcivilizations. And more than anyone else, this revolution is the work of one man, Stuart Kauffman, a MacArthur Fellow and visionary pioneer of the new science of complexity. Now, in At Home in the Universe, Kauffman brilliantly weaves together the excitement of intellectual discovery and a fertilemix of insights to give the general reader a fascinating look at this new science--and at the forces for order that lie at the edge of chaos. We all know of instances of spontaneous order in nature--an oil droplet in water forms a sphere, snowflakes have a six-fold symmetry. What we are only now discovering, Kauffman says, is that the range of spontaneous order is enormously greater than we had supposed. Indeed, self-organization is agreat undiscovered principle of nature. But how does this spontaneous order arise? Kauffman contends that complexity itself triggers self-organization, or what he calls order for free, that if enough different molecules pass a certain threshold of complexity, they begin to self-organize into a newentity--a living cell. Kauffman uses the analogy of a thousand buttons on a rug--join two buttons randomly with thread, then another two, and so on. At first, you have isolated pairs; later, small clusters; but suddenly at around the 500th repetition, a remarkable transformation occurs--much likethe phase transition when water abruptly turns to ice--and the buttons link up in one giant network. Likewise, life may have originated when the mix of different molecules in the primordial soup passed a certain level of complexity and self-organized into living entities (if so, then life is not ahighly improbable chance event, but almost inevitable). Kauffman uses the basic insight of order for free to illuminate a staggering range of phenomena. We see how a single-celled embryo can grow to a highly complex organism with over two hundred different cell types. We learn how the science ofcomplexity extends Darwin's theory of evolution by natural selection: that self-organization, selection, and chance are the engines of the biosphere. And we gain insights into biotechnology, the stunning magic of the new frontier of genetic engineering--generating trillions of novel molecules tofind new drugs, vaccines, enzymes, biosensors, and more. Indeed, Kauffman shows that ecosystems, economic systems, and even cultural systems may all evolve according to similar general laws, that tissues and terra cotta evolve in similar ways. And finally, there is a profoundly spiritual element toKauffman's thought. If, as he argues, life were bound to arise, not as an incalculably improbable accident, but as an expected fulfillment of the natural order, then we truly are at home in the universe. Kauffman's earlier volume, The Origins of Order, written for specialists, received lavish praise. Stephen Jay Gould called it a landmark and a classic. And Nobel Laureate Philip Anderson wrote that there are few people in this world who ever ask the right questions of science, and they are theones who affect its future most profoundly. Stuart Kauffman is one of these. In At Home in the Universe, this visionary thinker takes you along as he explores new insights into the nature of life.

    An attractive and comprehensive guidebook, this work has been completely revised and updated by the author. The reader will find an easy-to-use text which details the natural history of the plants and animals found in the Galápagos Islands. Management and conservation of the Galápagos National Park is discussed, and visitor information and notes about the various tourist sites are given. An index and checklist of plants and animals with page references and a glossary of technical terms are provided. New photographs have been added.

    

    In this newly revised edition, chapters have been rewritten to accommodate the impact of computer technology and the Internet, not only on the acquisition and analysis of data, but also on its organization and presentation. Alternatives to the use of radiation have been expanded, and figures and illustrations have been redrawn to reflect changes in laboratory equipment and procedures.

    Distinguishing agents (e.g., molecules, cells, animals, and species) from their interactions (e.g., chemical reactions, immune system responses, sexual reproduction, and evolution), Flake argues that it is the computational properties of interactions that account for much of what we think of as beautiful and interesting. From this basic thesis, Flake explores what he considers to be today's four most interesting computational topics: fractals, chaos, complex systems, and adaptation.Each of the book's parts can be read independently, enabling even the casual reader to understand and work with the basic equations and programs. Yet the parts are bound together by the theme of the computer as a laboratory and a metaphor for understanding the universe. The inspired reader will experiment further with the ideas presented to create fractal landscapes, chaotic systems, artificial life forms, genetic algorithms, and artificial neural networks.

    But ask a physicist and there’s no doubt that James Clerk Maxwell will be near the top of the list.  Maxwell, an unassuming Victorian Scotsman, explained how we perceive colour. He uncovered the way gases behave. And, most significantly, he transformed the way physics was undertaken in his explanation of the interaction of electricity and magnetism, revealing the nature of light and laying the groundwork for everything from Einstein’s special relativity to modern electronics.   Along the way, he set up one of the most enduring challenges in physics, one that has taxed the best minds ever since. ‘Maxwell’s demon’ is a tiny but thoroughly disruptive thought experiment that suggests the second law of thermodynamics, the law that governs the flow of time itself, can be broken. This is the story of a groundbreaking scientist, a great contributor to our understanding of the way the world works, and his duplicitous demon.

    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 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.