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How sonically distinctive digital “signatures”—including reverb, glitches, and autotuning—affect the aesthetics of popular music, analyzed in works by Prince, Lady Gaga, and others.Is digital production killing the soul of music? Is Auto-Tune the nadir of creative expression? Digital technology has changed not only how music is produced, distributed, and consumed but also—equally important but not often considered—how music sounds. In this book, Ragnhild Brøvig and Anne Danielsen examine the impact of digitization on the aesthetics of popular music. They investigate sonically distinctive “digital signatures”—musical moments when the use of digital technology is revealed to the listener. The particular signatures of digital mediation they examine include digital reverb and delay, MIDI and sampling, digital silence, the virtual cut-and-paste tool, digital glitches, microrhythmic manipulation, and autotuning—all of which they analyze in specific works by popular artists.Combining technical and historical knowledge of music production with musical analyses, aesthetic interpretations, and theoretical discussions, Brøvig and Danielsen offer unique insights into how digitization has changed the sound of popular music and the listener's experience of it. For example, they show how digital reverb and delay have allowed experimentation with spatiality by analyzing Kate Bush's “Get Out of My House”; they examine the contrast between digital silence and the low-tech noises of tape hiss or vinyl crackle in Portishead's “Stranger”; and they describe the development of Auto-Tune—at first a tool for pitch correction—into an artistic effect, citing work by various hip-hop artists, Bon Iver, and Lady Gaga.

Experts discuss the challenges faced in agrobiodiversity and conservation, integrating disciplines that range from plant and biological sciences to economics and political science.Wide-ranging environmental phenomena—including climate change, extreme weather events, and soil and water availability—combine with such socioeconomic factors as food policies, dietary preferences, and market forces to affect agriculture and food production systems on local, national, and global scales. The increasing simplification of food systems, the continuing decline of plant species, and the ongoing spread of pests and disease threaten biodiversity in agriculture as well as the sustainability of food resources. Complicating the situation further, the multiple systems involved—cultural, economic, environmental, institutional, and technological—are driven by human decision making, which is inevitably informed by diverse knowledge systems. The interactions and linkages that emerge necessitate an integrated assessment if we are to make progress toward sustainable agriculture and food systems.This volume in the Strüngmann Forum Reports series offers insights into the challenges faced in agrobiodiversity and sustainability and proposes an integrative framework to guide future research, scholarship, policy, and practice. The contributors offer perspectives from a range of disciplines, including plant and biological sciences, food systems and nutrition, ecology, economics, plant and animal breeding, anthropology, political science, geography, law, and sociology. Topics covered include evolutionary ecology, food and human health, the governance of agrobiodiversity, and the interactions between agrobiodiversity and climate and demographic change.

"How will the history of the present be written? As life continues to move online, the web becomes ever more important for an understanding of the past. This book offers an original theoretical framework for approaching the web of the past, both as a source and as an object of study in its own right"--

Interdisciplinary perspectives on the evolutionary and biological roots of syntax, describing current research on syntax in fields ranging from linguistics to neurology.

Experts explore the biological, social, and economic complexities of eradicating disease.

A proposal that the basic mental models used to structure social interaction result from self-organization in brain activity.

Experts investigate the role of child development in promoting a culture of peace, reporting on research in biology, neuroscience, genetics, and psychology.

A critical examination of metropolitan planning in Paris--the "Grand Paris" initiative--and the building of today's networked global city.

An examination of how the availability of low-end information and communication technology has provided a basis for the emergence of a working-class network society in China.

An engaging introduction to the use of game theory to study lingistic meaning.

How the simulation and visualization technologies so pervasive in science, engineering, and design have changed our way of seeing the world.Over the past twenty years, the technologies of simulation and visualization have changed our ways of looking at the world. In Simulation and Its Discontents, Sherry Turkle examines the now dominant medium of our working lives and finds that simulation has become its own sensibility. We hear it in Turkle's description of architecture students who no longer design with a pencil, of science and engineering students who admit that computer models seem more "e;real"e; than experiments in physical laboratories.Echoing architect Louis Kahn's famous question, "e;What does a brick want?"e;, Turkle asks, "e;What does simulation want?"e; Simulations want, even demand, immersion, and the benefits are clear. Architects create buildings unimaginable before virtual design; scientists determine the structure of molecules by manipulating them in virtual space; physicians practice anatomy on digitized humans. But immersed in simulation, we are vulnerable. There are losses as well as gains. Older scientists describe a younger generation as "e;drunk with code."e; Young scientists, engineers, and designers, full citizens of the virtual, scramble to capture their mentors' tacit knowledge of buildings and bodies. From both sides of a generational divide, there is anxiety that in simulation, something important is slipping away. Turkle's examination of simulation over the past twenty years is followed by four in-depth investigations of contemporary simulation culture: space exploration, oceanography, architecture, and biology.

Architects who engaged with cybernetics, artificial intelligence, and other technologies poured the foundation for digital interactivity. In Architectural Intelligence, Molly Wright Steenson explores the work of four architects in the 1960s and 1970s who incorporated elements of interactivity into their work. Christopher Alexander, Richard Saul Wurman, Cedric Price, and Nicholas Negroponte and the MIT Architecture Machine Group all incorporated technologies--including cybernetics and artificial intelligence--into their work and influenced digital design practices from the late 1980s to the present day. Alexander, long before his famous 1977 book A Pattern Language, used computation and structure to visualize design problems; Wurman popularized the notion of "information architecture"; Price designed some of the first intelligent buildings; and Negroponte experimented with the ways people experience artificial intelligence, even at architectural scale. Steenson investigates how these architects pushed the boundaries of architecture--and how their technological experiments pushed the boundaries of technology. What did computational, cybernetic, and artificial intelligence researchers have to gain by engaging with architects and architectural problems? And what was this new space that emerged within these collaborations? At times, Steenson writes, the architects in this book characterized themselves as anti-architects and their work as anti-architecture. The projects Steenson examines mostly did not result in constructed buildings, but rather in design processes and tools, computer programs, interfaces, digital environments. Alexander, Wurman, Price, and Negroponte laid the foundation for many of our contemporary interactive practices, from information architecture to interaction design, from machine learning to smart cities.

An overview of the theory and application of kernel classification methods. Linear classifiers in kernel spaces have emerged as a major topic within the field of machine learning. The kernel technique takes the linear classifier--a limited, but well-established and comprehensively studied model--and extends its applicability to a wide range of nonlinear pattern-recognition tasks such as natural language processing, machine vision, and biological sequence analysis. This book provides the first comprehensive overview of both the theory and algorithms of kernel classifiers, including the most recent developments. It begins by describing the major algorithmic advances: kernel perceptron learning, kernel Fisher discriminants, support vector machines, relevance vector machines, Gaussian processes, and Bayes point machines. Then follows a detailed introduction to learning theory, including VC and PAC-Bayesian theory, data-dependent structural risk minimization, and compression bounds. Throughout, the book emphasizes the interaction between theory and algorithms: how learning algorithms work and why. The book includes many examples, complete pseudo code of the algorithms presented, and an extensive source code library.

How women coped with both formal barriers and informal opposition to their entry into the traditionally masculine field of engineering in American higher education. Engineering education in the United States was long regarded as masculine territory. For decades, women who studied or worked in engineering were popularly perceived as oddities, outcasts, unfeminine (or inappropriately feminine in a male world). In Girls Coming to Tech!, Amy Bix tells the story of how women gained entrance to the traditionally male field of engineering in American higher education. As Bix explains, a few women breached the gender-reinforced boundaries of engineering education before World War II. During World War II, government, employers, and colleges actively recruited women to train as engineering aides, channeling them directly into defense work. These wartime training programs set the stage for more engineering schools to open their doors to women. Bix offers three detailed case studies of postwar engineering coeducation. Georgia Tech admitted women in 1952 to avoid a court case, over objections by traditionalists. In 1968, Caltech male students argued that nerds needed a civilizing female presence. At MIT, which had admitted women since the 1870s but treated them as a minor afterthought, feminist-era activists pushed the school to welcome more women and take their talent seriously. In the 1950s, women made up less than one percent of students in American engineering programs; in 2010 and 2011, women earned 18.4% of bachelor's degrees, 22.6% of master's degrees, and 21.8% of doctorates in engineering. Bix's account shows why these gains were hard won.

A computer scientist and a performance and new media theorist define and document the emerging field of mixed reality performance. Working at the cutting edge of live performance, an emerging generation of artists is employing digital technologies to create distinctive forms of interactive, distributed, and often deeply subjective theatrical performance. The work of these artists is not only fundamentally transforming the experience of theater, it is also reshaping the nature of human interaction with computers. In this book, Steve Benford and Gabriella Giannachi offer a new theoretical framework for understanding these experiences--which they term mixed reality performances--and document a series of landmark performances and installations that mix the real and the virtual, live performance and interactivity. Benford and Giannachi draw on a number of works that have been developed at the University of Nottingham's Mixed Reality Laboratory, describing collaborations with artists (most notably the group Blast Theory) that have gradually evolved a distinctive interdisciplinary approach to combining practice with research. They offer detailed and extended accounts of these works from different perspectives, including interviews with the artists and Mixed Reality Laboratory researchers. The authors develop an overarching theory to guide the study and design of mixed reality performances based on the approach of interleaved trajectories through hybrid structures of space, time, interfaces, and roles. Combinations of canonical, participant, and historic trajectories show how such performances establish complex configurations of real and virtual, local and global, factual and fictional, and personal and social.

A handbook to the Coq software for writing and checking mathematical proofs, with a practical engineering focus. The technology of mechanized program verification can play a supporting role in many kinds of research projects in computer science, and related tools for formal proof-checking are seeing increasing adoption in mathematics and engineering. This book provides an introduction to the Coq software for writing and checking mathematical proofs. It takes a practical engineering focus throughout, emphasizing techniques that will help users to build, understand, and maintain large Coq developments and minimize the cost of code change over time. Two topics, rarely discussed elsewhere, are covered in detail: effective dependently typed programming (making productive use of a feature at the heart of the Coq system) and construction of domain-specific proof tactics. Almost every subject covered is also relevant to interactive computer theorem proving in general, not just program verification, demonstrated through examples of verified programs applied in many different sorts of formalizations. The book develops a unique automated proof style and applies it throughout; even experienced Coq users may benefit from reading about basic Coq concepts from this novel perspective. The book also offers a library of tactics, or programs that find proofs, designed for use with examples in the book. Readers will acquire the necessary skills to reimplement these tactics in other settings by the end of the book. All of the code appearing in the book is freely available online.

The evolution of the Boston metropolitan area, from country villages and streetcar suburbs to exurban sprawl and "smart growth." Boston's metropolitan landscape has been two hundred years in the making. From its proto-suburban village centers of 1800 to its far-flung, automobile-centric exurbs of today, Boston has been a national pacesetter for suburbanization. In The Hub's Metropolis, James O'Connell charts the evolution of Boston's suburban development.The city of Boston is compact and consolidated--famously, "the Hub." Greater Boston, however, stretches over 1,736 square miles and ranks as the world's sixth largest metropolitan area. Boston suburbs began to develop after 1820, when wealthy city dwellers built country estates that were just a short carriage ride away from their homes in the city. Then, as transportation became more efficient and affordable, the map of the suburbs expanded. The Metropolitan Park Commission's park-and-parkway system, developed in the 1890s, created a template for suburbanization that represents the country's first example of regional planning.O'Connell identifies nine layers of Boston's suburban development, each of which has left its imprint on the landscape: traditional villages; country retreats; railroad suburbs; streetcar suburbs (the first electric streetcar boulevard, Beacon Street in Brookline, was designed by Frederic Law Olmsted); parkway suburbs, which emphasized public greenspace but also encouraged commuting by automobile; mill towns, with housing for workers; upscale and middle-class suburbs accessible by outer-belt highways like Route 128; exurban, McMansion-dotted sprawl; and smart growth. Still a pacesetter, Greater Boston has pioneered antisprawl initiatives that encourage compact, mixed-use development in existing neighborhoods near railroad and transit stations.O'Connell reminds us that these nine layers of suburban infrastructure are still woven into the fabric of the metropolis. Each chapter suggests sites to visit, from Waltham country estates to Cambridge triple-deckers.

How the early Dungeons & Dragons community grappled with the nature of role-playing games, theorizing a new game genre. When Dungeon & Dragons made its debut in the mid-1970s, followed shortly thereafter by other, similar tabletop games, it sparked a renaissance in game design and critical thinking about games. D&D is now popularly considered to be the first role-playing game. But in the original rules, the term "role-playing" is nowhere to be found; D&D was marketed as a war game. In The Elusive Shift, Jon Peterson describes how players and scholars in the D&D community began to apply the term to D&D and similar games--and by doing so, established a new genre of games.

A handbook of situated design methods, with analyses and cases that range from designing study processes to understanding customer experiences to developing interactive installations. All design is situated--carried out from an embedded position. Design involves many participants and encompasses a range of interactions and interdependencies among designers, designs, design methods, and users. Design is also multidisciplinary, extending beyond the traditional design professions into such domains as health, culture, education, and transportation. This book presents eighteen situated design methods, offering cases and analyses of projects that range from designing interactive installations, urban spaces, and environmental systems to understanding customer experiences. Each chapter presents a different method, combining theoretical, methodological, and empirical discussions with accounts of actual experiences. The book describes methods for defining and organizing a design project, organizing collaborative processes, creating aesthetic experiences, and incorporating sustainability into processes and projects. The diverse and multidisciplinary methods presented include a problem- and project-based approach to design studies; a "Wheel of Rituals" intended to promote creativity; a pragmatist method for situated experience design that derives from empirical studies of film production and performance design; and ways to transfer design methods in a situated manner. The book will be an important resource for researchers, students, and practitioners of interdisciplinary design.

Lessons from and for the creative professions of art, science, design, and engineering: how to live in and with the Plenitude, that dense, knotted ecology of human-made stuff that creates the need for more of itself. We live with a lot of stuff. The average kitchen, for example, is home to stuff galore, and every appliance, every utensil, every thing, is compound--composed of tens, hundreds, even thousands of other things. Although each piece of stuff satisfies some desire, it also creates the need for even more stuff: cereal demands a spoon; a television demands a remote. Rich Gold calls this dense, knotted ecology of human-made stuff the "Plenitude." And in this book--at once cartoon treatise, autobiographical reflection, and practical essay in moral philosophy--he tells us how to understand and live with it. Gold writes about the Plenitude from the seemingly contradictory (but in his view, complementary) perspectives of artist, scientist, designer, and engineer--all professions pursued by him, sometimes simultaneously, in the course of his career. "I have spent my life making more stuff for the Plenitude," he writes, acknowledging that the Plenitude grows not only because it creates a desire for more of itself but also because it is extraordinary and pleasurable to create. Gold illustrates these creative expressions with witty cartoons. He describes "seven patterns of innovation"--including "The Big Kahuna," "Colonization" (which is illustrated by a drawing of "The real history of baseball," beginning with "Play for free in the backyard" and ending with "Pay to play interactive baseball at home"), and "Stuff Desires to Be Better Stuff" (and its corollary, "Technology Desires to Be Product"). Finally, he meditates on the Plenitude itself and its moral contradictions. How can we in good conscience accept the pleasures of creating stuff that only creates the need for more stuff? He quotes a friend: "We should be careful to make the world we actually want to live in."

Statements, dialogue, letters, epigrams, and poems by sculptor Carl Andre, a central figure in minimalism. Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts--the most comprehensive collection of his writings yet published--appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters--public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst. Carl Andre's writing and its materiality--its stress on the visual and tactile qualities of language--takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."