As threats to the security of information pervade the fabric of everyday life, A Vulnerable System describes how, even as the demand for information security increases, the needs of society are not being met. The result is that the confidentiality of our personal data, the integrity of our elections, and the stability of foreign relations between countries are increasingly at risk. Andrew J. Stewart convincingly shows that emergency software patches and new security products cannot provide the solution to threats such as computer hacking, viruses, software vulnerabilities, and electronic spying. Profound underlying structural problems must first be understood, confronted, and then addressed. A Vulnerable System delivers a long view of the history of information security, beginning with the creation of the first digital computers during the Cold War. From the key institutions of the so-called military industrial complex in the 1950s to Silicon Valley start-ups in the 2020s, the relentless pursuit of new technologies has come at great cost. The absence of knowledge regarding the history of information security has caused the lessons of the past to be forsaken for the novelty of the present, and has led us to be collectively unable to meet the needs of the current day. From the very beginning of the information age, claims of secure systems have been crushed by practical reality. The myriad risks to technology, Stewart reveals, cannot be addressed without first understanding how we arrived at this moment. A Vulnerable System is an enlightening and sobering history of a topic that affects crucial aspects of our lives.
Fascinating ... Composer Andrew Gant is a masterful guide, introducing readers to the major players and key themes of an entrancing topic.' BBC History Magazine Whether you prefer Baroque or pop, Theremins or violins, the music you love and listen to shapes your world. But what shaped the music? Ranging across time and space, this book takes us on a grand musical tour from music's origins in prehistory right up to the twenty-first century. Charting the leaps in technology, thought and practice that led to extraordinary revolutions of music in each age, the book takes us through medieval Europe, Renaissance Italy and Jazz era America to reveal the rich history of music we still listen to today. From Mozart to McCartney, Schubert to Schoenberg, Professor Andrew Gant brings to life the people who made the music, their techniques and instruments, as well as the places their music was played, from sombre churches to rowdy taverns, stately courts to our very own homes.
This book revisits the claim that a key dimension of cultural modernity – understood as a turn to the autonomy of the signs and the erasure of the 'face of man' - arose in the mid-nineteenth century. It presents an alternative to that obsession, focusing instead on the aesthetic appreciation of forms through which connections are realised across place and time. The book is one of few to offer a comparative approach to numerous major writers and artists of this period over diverse countries. Specifically, the comparative approach overcomes the constitutively ambiguous relation between the modern and the Hispanic. The Hispanic is often imagined as at once foundational for and excluded from the modern world. Its reincorporation into the story of the mid-century unsettles the notion of modernity. The book offers instead an experiment in writing, tracing commonalities across place and time, and drawing on mid-century expressions of such likenesses.
A fascinating history of the first attempts to computerize medical diagnosis. Beginning in the 1950s, interdisciplinary teams of physicians, engineers, mathematicians, and philosophers began to explore the possible application of a new digital technology to one of the most central, and vexed, tasks of medicine: diagnosis. In Digitizing Diagnosis, Andrew Lea examines these efforts—and the larger questions, debates, and transformations that emerged in their wake. While surveying the continuities spanning the analog and digital worlds of medicine, Lea uncovers how the introduction of the computer to medical diagnosis reconfigured the identities of patients, diseases, and physicians. Debates about how and whether to apply computers to the problem of diagnosis, he demonstrates, were animated by larger concerns about the nature of medical reasoning, the definitions of disease, and the authority and identity of physicians and patients. In their attempts to digitize diagnosis, these interdisciplinary groups of researchers repeatedly came up against fundamental moral and philosophical questions. How should doctors classify diseases? Could humans understand, and come to trust, the opaque decision-making processes of machines? And how might computerized systems circumvent—or calcify—bias? As medical algorithms become more deeply integrated into clinical care, researchers, clinicians, and caregivers continue to grapple with these questions today.
Consumer electronics and computers redefined life and work in the twentieth century. In Inventing the Electronic Century, Pulitzer Prize-winning business historian Alfred D. Chandler, Jr., traces their origins and worldwide development. This masterful analysis is essential reading for every manager and student of technology.
This text is an investigation of the changing power structures of the English aristocracy in medieval England. The author uses the organization of the aristocracy in East Anglia as a case study to explore the issue.
The Penn Commentary on Piers Plowman, Volume 2, by Ralph Hanna, deliberately addresses the question of the poem's perceived "difficulty," by indicating the legitimate areas of unresolved dilemmas, while offering often original explanations of a variety of textual loci.
“An effort to expand sonata theory more solidly into the nineteenth-century repertoire.” —Notes In Sonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic. “A major achievement.” —Michael L. Klein, author of Music and the Crises of the Modern Subject
Ada’s Legacy illustrates the depth and diversity of writers, thinkers, and makers who have been inspired by Ada Lovelace, the English mathematician and writer. The volume, which commemorates the bicentennial of Ada’s birth in December 1815, celebrates Lovelace’s many achievements as well as the impact of her life and work, which reverberated widely since the late nineteenth century. In the 21st century we have seen a resurgence in Lovelace scholarship, thanks to the growth of interdisciplinary thinking and the expanding influence of women in science, technology, engineering and mathematics. Ada’s Legacy is a unique contribution to this scholarship, thanks to its combination of papers on Ada’s collaboration with Charles Babbage, Ada’s position in the Victorian and Steampunk literary genres, Ada’s representation in and inspiration of contemporary art and comics, and Ada’s continued relevance in discussions around gender and technology in the digital age. With the 200th anniversary of Ada Lovelace’s birth on December 10, 2015, we believe that the timing is perfect to publish this collection of papers. Because of its broad focus on subjects that reach far beyond the life and work of Ada herself, Ada’s Legacy will appeal to readers who are curious about Ada’s enduring importance in computing and the wider world.
The 20th century saw radical changes in the way serious music is composed and produced, including the advent of electronic instruments and novel compositional methods such as serialism and stochastic music. Unlike previous artistic revolutions, this one took its cues from the world of science. Creating electronic sounds, in the early days, required a well-equipped laboratory and an understanding of acoustic theory. Composition became increasingly “algorithmic”, with many composers embracing the mathematics of set theory. The result was some of the most intellectually challenging music ever written – yet also some of the best known, thanks to its rapid assimilation into sci-fi movies and TV shows, from the electronic scores of Forbidden Planet and Dr Who to the other-worldly sounds of 2001: A Space Odyssey. This book takes a close look at the science behind "science fiction" music, as well as exploring the way sci-fi imagery found its way into the work of musicians like Sun Ra and David Bowie, and how music influenced the science fiction writings of Philip K. Dick and others.
The early seventeenth century, when the first operas were written and technical advances with far-reaching consequences—such as tonal music—began to develop, is also notable for another shift: the displacement of aristocratic music-makers by a new professional class of performers. In this book, Andrew Dell’Antonio looks at a related phenomenon: the rise of a cultivated audience whose skill involved listening rather than playing or singing. Drawing from contemporaneous discourses and other commentaries on music, the visual arts, and Church doctrine, Dell’Antonio links the new ideas about cultivated listening with other intellectual trends of the period: humanistic learning, contemplative listening (or watching) as an active spiritual practice, and musical mysticism as an ideal promoted by the Church as part of the Catholic Reformation.
Featuring 28 music examples this book takes an innovative approach to analyzing and interpreting nineteenth-century German song, offering new perspectives on Robert Schumann's Lieder and song cycles. Robert Schumann's Lieder are among the richest and most complex songs in the repertoire and have long raised questions and stimulated discussion among scholars, performers, and listeners. Among the wide range of methodologies that have been used to understand and interpret his songs, one that has been conspicuously absent is an approach based on narratology (the theory and study of narrative texts). Proceeding from the premise that the performance of a Lied is a narrative act, in which the singer and pianist together function as a narrator, Andrew Weaver's groundbreaking study proposes a comprehensive theory of narratology for the German Romantic Lied and song cycle, using Schumann's complete song oeuvre as the test case. The theory, grounded in the work of narratologist Mieke Bal but also drawing upon recent work in literary theory and musicology, illuminates how music can open up new meanings for the poem, as well as how a narratological analysis of the poem can help us understand the music. Weaver's book offers new insights into Schumann's Lieder and the poetry he set while simultaneously proposing a methodology applicable to the analysis and interpretation of a wide range of works, including not only the rich treasury of German Lieder but also potentially any genre of accompanied song in any language from the Middle Ages to the present day.
A leading philosopher of technology calls for the democratic coordination of technical rationality with everyday experience. The technologies, markets, and administrations of today's knowledge society are in crisis. We face recurring disasters in every domain: climate change, energy shortages, economic meltdown. The system is broken, despite everything the technocrats claim to know about science, technology, and economics. These problems are exacerbated by the fact that today powerful technologies have unforeseen effects that disrupt everyday life; the new masters of technology are not restrained by the lessons of experience, and accelerate change to the point where society is in constant turmoil. In Between Reason and Experience, leading philosopher of technology Andrew Feenberg makes a case for the interdependence of reason—scientific knowledge, technical rationality—and experience. Feenberg examines different aspects of the tangled relationship between technology and society from the perspective of critical theory of technology, an approach he has pioneered over the past twenty years. Feenberg points to two examples of democratic interventions into technology: the Internet (in which user initiative has influenced design) and the environmental movement (in which science coordinates with protest and policy). He examines methodological applications of critical theory of technology to the case of the French Minitel computing network and to the relationship between national culture and technology in Japan. Finally, Feenberg considers the philosophies of technology of Heidegger, Habermas, Latour, and Marcuse. The gradual extension of democracy into the technical sphere, Feenberg argues, is one of the great political transformations of our time.
As recently as 1968, computer scientists were uncertain how best to interconnect even two computers. The notion that within a few decades the challenge would be how to interconnect millions of computers around the globe was too far-fetched to contemplate. Yet, by 1988, that is precisely what was happening. The products and devices developed in the intervening years—such as modems, multiplexers, local area networks, and routers—became the linchpins of the global digital society. How did such revolutionary innovation occur? This book tells the story of the entrepreneurs who were able to harness and join two factors: the energy of computer science researchers supported by governments and universities, and the tremendous commercial demand for Internetworking computers. The centerpiece of this history comes from unpublished interviews from the late 1980s with over 80 computing industry pioneers, including Paul Baran, J.C.R. Licklider, Vint Cerf, Robert Kahn, Larry Roberts, and Robert Metcalfe. These individuals give us unique insights into the creation of multi-billion dollar markets for computer-communications equipment, and they reveal how entrepreneurs struggled with failure, uncertainty, and the limits of knowledge.
From internationally-bestselling author and journalist Andrew Smith, an immersive, alarming, sharp-eyed journey into the bizarre world of computer code, told through his sometimes painful, often amusing attempt to become a coder himself Throughout history, technological revolutions have been driven by the invention of machines. But today, the power of the technology transforming our world lies in an intangible and impenetrable cosmos of software: algorithmic code. So symbiotic has our relationship with this code become that we barely notice it anymore. We can’t see it, are not even sure how to think about it, and yet we do almost nothing that doesn’t depend on it. In a world increasingly governed by technologies that so few can comprehend, who—or what—controls the future? Devil in the Stack follows Andrew Smith on his immersive trip into the world of coding, passing through the stories of logic, machine-learning and early computing, from Ada Lovelace to Alan Turing, and up to the present moment, behind the scenes into the lives—and minds—of the new frontiers people of the 21st century: those who write code. Smith embarks on a quest to understand this sect in what he believes to be the only way possible: by learning to code himself. Expansive and effervescent, Devil in the Stack delivers a portrait of code as both a vivid culture and an impending threat. How do we control a technology that most people can’t understand? And are we programming ourselves out of existence? Perhaps most terrifying of all: Is there something about the way we compute – the way code works – that is innately at odds with the way humans have evolved? By turns revelatory, unsettling, and joyously funny, Devil in the Stack is an essential book for our times, of vital interest to anyone hoping to participate in the future-defining technological debates to come.
Genius and breakthroughs appear to involve something magical. Andrew Robinson looks at what science does, and does not, know about exceptional creativity, and applied it to the stories of ten breakthroughs in the arts and sciences, including Curie's discovery of radium and Mozart's composing of The Marriage of Figaro.
Decomposition is a bracing, revisionary, and provocative inquiry into music—from Beethoven to Duke Ellington, from Conlon Nancarrow to Evelyn Glennie—as a personal and cultural experience: how it is composed, how it is idiosyncratically perceived by critics and reviewers, and why we listen to it the way we do. Andrew Durkin, best known as the leader of the West Coast–based Industrial Jazz Group, is singular for his insistence on asking tough questions about the complexity of our presumptions about music and about listening, especially in the digital age. In this winning and lucid study he explodes the age-old concept of musical composition as the work of individual genius, arguing instead that in both its composition and reception music is fundamentally a collaborative enterprise that comes into being only through mediation. Drawing on a rich variety of examples—Big Jay McNeely’s “Deacon’s Hop,” Biz Markie’s “Alone Again,” George Antheil’s Ballet Mécanique, Frank Zappa’s “While You Were Art,” and Pauline Oliveros’s “Tuning Meditation,” to name only a few—Durkin makes clear that our appreciation of any piece of music is always informed by neuroscientific, psychological, technological, and cultural factors. How we listen to music, he maintains, might have as much power to change it as music might have to change how we listen.
Andrew Shenton's groundbreaking cross-disciplinary approach to Messiaen's music presents a systematic and detailed examination of the compositional techniques of one of the most significant musicians of the twentieth century as they relate to his desire to express profound truths about Catholicism. It is widely accepted that music can have mystical and transformative powers, but because 'pure' music has no programme, Messiaen sought to refine his compositions to speak more clearly about the truths of the Catholic faith by developing a sophisticated semiotic system in which aspects of music become direct signs for words and concepts. Using interdisciplinary methodologies drawing on linguistics, cognition studies, theological studies and semiotics, Shenton traces the development of Messiaen's sign system using examples from many of Messiaen's works and concentrating in particular on the M tations sur le myst de la Sainte Trinit or organ, a suite which contains the most sophisticated and developed use of a sign system and represents a profound exegesis of Messiaen's understanding of the Catholic triune God. By working on issues of interpretation, Shenton endeavours to bridge the traditional gap between scholars and performers and to help people listen to Messiaen's music with spirit and understanding.
Andrew Utterson's unique study charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Lang's Desk Set, Godard's Alphaville, Kubrick's 2001: A Space Odyssey and Crichton's Westworld.
Giacomo Puccini is one of the most frequently performed and best loved of all operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, Andrew Davis takes on the subject of Puccini's last two works to better understand how the composer creates meaning through the juxtaposition of the conventional and the unfamiliar -- situating Puccini in past operatic traditions and modern European musical theater. Davis asserts that hearing Puccini's late works within the context of la solita forma allows listeners to interpret the composer's expressive strategies. He examines Puccini's compositional language, with insightful analyses of melody, orchestration, harmony, voice-leading, and rhythm and meter.
For decades the Space Consortium of America has searched for new ways to harvest resources beyond an increasingly depleted Earth. The ultimate plan is about to be ignited. So is the ultimate threat to humankind . . . DETONATION EVENT Battle-hardened Captain Ry Devans and his crew of the Mars Orbiting Station-1 are part of a bold plan: resurrect the active molten cores of the Red Planet with synchronized thermonuclear explosions, and terraform the hell out of that iron-oxide rock for future generations. It’ll change history. So will the strands of carbon-based Martian cells that have hitched a ride on the ship. Dr. Karen Wagner knows the microbes’ resistance to virus is incredible. It’s the unknowable that’s dicey. Her orders: blow them into space. But orders can be undermined. Two vials have been stolen and sent hurtling toward the biosphere. For Devans and Wagner, ferreting out the saboteurs on board is only the beginning. Because there are more of them back on Earth—an army of radical eco-terrorists anxious to create a New World Order with a catastrophic gift from Mars. Now, one-hundred-and-forty-million miles away from home, Devans is feeling expendable, betrayed, a little adrift, and a lot wild-eyed. But space madness could be his salvation—and Earth’s. He has a plan. And he’ll have to be crazy to make it work.
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