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A History of Computer Animation

Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created the first true computer animation program. Instead of presenting a series of numbers, Sutherland’s Sketchpad program drew lines that created recognizable images.

The Townsend Thai Project

Running since 1997 and continuing today, the Townsend Thai Project has tracked millions of observations about the economic activities of households and institutions in rural and urban Thailand. The project represents one of the most extensive datasets in the developing world. Chronicles from the Field offers an account of the design and implementation of this unique panel data survey.

Politics, Policy, and Ethics

New findings in neuroscience have given us unprecedented knowledge about the workings of the brain. Innovative research—much of it based on neuroimaging results—suggests not only treatments for neural disorders but also the possibility of increasingly precise and effective ways to predict, modify, and control behavior. In this book, Robert Blank examines the complex ethical and policy issues raised by our new capabilities of intervention in the brain.

Electrical Technologies and Inventor Identities on Trial in Britain

Late nineteenth-century Britain saw an extraordinary surge in patent disputes over the new technologies of electrical power, lighting, telephony, and radio. These battles played out in the twin tribunals of the courtroom and the press. In Patently Contestable, Stathis Arapostathis and Graeme Gooday examine how Britain’s patent laws and associated cultures changed from the 1870s to the 1920s. They consider how patent rights came to be so widely disputed and how the identification of apparently solo heroic inventors was the contingent outcome of patent litigation.

A solutions manual for all 582 exercises in the second edition of Intermediate Public Economics.

In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research.

Told by six women in one family, Veronica Gonzalez Pena’s The Sad Passions captures the alertness, beauty, and terror of childhood lived in proximity to madness. Set against the backdrop of a colonial past, spanning three generations, and shuttling from Mexico City to Oaxaca to the North Fork of Long Island to Veracruz, The Sad Passions is the lyrical story of a middle-class Mexican family torn apart by the undiagnosed mental illness of Claudia, a lost child of the 1960s and the mother of four little girls.

Many developing countries find it difficult to raise the revenue required to provide such basic public services as education, health care, and infrastructure. Complicating the policy challenges of taxation in developing countries are issues that most developed countries do not face, including widespread corruption, tax evasion and tax avoidance, and ineffective political structures. In this volume, experts investigate crucial challenges confronted by developing countries in raising revenue.

Public economics studies how government taxing and spending activities affect the economy—economic efficiency and the distribution of income and wealth. This comprehensive text on public economics covers the core topics of market failure and taxation as well as recent developments in both policy and the academic literature. It is unique not only in its broad scope but in its balance between public finance and public choice and its combination of theory and relevant empirical evidence.

Thanks to advances in molecular science and microscopy, we can visualize matter on a nanoscale, and structures not visible to the naked eye can be visualized and characterized. The fact that technology allows us to transcend the limits of natural perception and see what was previously unseeable creates a new dimension of aesthetic experience and practice: molecular aesthetics. This book, drawing on an exhibit and symposium at ZKM | Center for Art and Media Karlsruhe, documents aesthetic developments in what Félix Guattari called the “molecular revolution.”

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