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A parallel biography of Albert Einstein and Pablo Picasso as young men, focusing on their greatest achievements.
The most important scientist of the twentieth century and the most important artist had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances. This fascinating parallel biography of Albert Einstein and Pablo Picasso as young men examines their greatest creations -- Picasso's Les Demoiselles d'Avignon and Einstein's special theory of relativity. Miller shows how these breakthroughs arose not only from within their respective fields but from larger currents in the intellectual culture of the times. Ultimately, Miller shows how Einstein and Picasso, in a deep and important sense, were both working on the same problem.
The most important scientist of the twentieth century and the most important artist had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances. This fascinating parallel biography of Albert Einstein and Pablo Picasso as young men examines their greatest creations -- Picasso's Les Demoiselles d'Avignon and Einstein's special theory of relativity. Miller shows how these breakthroughs arose not only from within their respective fields but from larger currents in the intellectual culture of the times. Ultimately, Miller shows how Einstein and Picasso, in a deep and important sense, were both working on the same problem.
An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature.
A dazzling look at the artists working on the frontiers of science. In recent decades, an exciting new art movement has emerged in which artists utilize and illuminate the latest advances in science. Some of their provocative creations—a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang (pictured on the cover)—can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google’s Creative Lab, and the MIT Media Lab. In Colliding Worlds, Arthur I. Miller takes readers on a wild journey to explore this new frontier. Miller, the author of Einstein, Picasso and other celebrated books on science and creativity, traces the movement from its seeds a century ago—when Einstein’s theory of relativity helped shape the thinking of the Cubists—to its flowering today. Through interviews with innovative thinkers and artists across disciplines, Miller shows with verve and clarity how discoveries in biotechnology, cosmology, quantum physics, and beyond are animating the work of designers like Neri Oxman, musicians like David Toop, and the artists-in-residence at CERN’s Large Hadron Collider. From NanoArt to Big Data, Miller reveals the extraordinary possibilities when art and science collide.
As the field of Science and Technology Studies (STS) has become more established, it has increasingly hidden its philosophical roots. While the trend is typical of disciplines striving for maturity, Steve Fuller, a leading figure in the field, argues that STS has much to lose if it abandons philosophy. In his characteristically provocative style, he offers the first sustained treatment of the philosophical foundations of STS and suggests fruitful avenues for further research. With stimulating discussions of the Science Wars, the Intelligent Design Theory controversy, and theorists such as Donna Haraway and Bruno Latour, Philosophy of Science and Technology Studies is required reading for students and scholars in STS and the philosophy of science.
"The history is fascinating, as are the insights into the personalities of these great thinkers." —New Scientist Is there a number at the root of the universe? A primal number that everything in the world hinges on? This question exercised many great minds of the twentieth century, among them the groundbreaking physicist Wolfgang Pauli and the famous psychoanalyst Carl Jung. Their obsession with the power of certain numbers—including 137, which describes the atom’s fine-structure constant and has great Kabbalistic significance—led them to develop an unlikely friendship and to embark on a joint mystical quest reaching deep into medieval alchemy, dream interpretation, and the Chinese Book of Changes. 137 explores the profound intersection of modern science with the occult, but above all it is the tale of an extraordinary, fruitful friendship between two of the greatest thinkers of our times. Originally published in hardcover as Deciphering the Cosmic Number.
Here, distinguished science historian Arthur I. Miller delves into the connections between modern art and modern physics. He takes us on a wide-ranging study to demonstrate that scientists and artists have a common aim: a visual interpretation of both the visible and invisible aspects of nature. Along the way, we encounter the philosophy of mind and language, cognitive science and neurophysiology in our search for the origins and meaning of visual imagery. At a time when the media are overeager to portray science as a godless, dehumanising exercise undermining the very fabric of society, this sixth book by Professor Miller shows how scientists are struggling to understand nature, convince their peers, inform the public and deal with the reactions to their research. Thus, Insights of Genuis must interest everyone who cares about science and its place in our culture.
"John Paul Lederach's work in the field of conciliation and mediation is internationally recognized. He has provided consultation, training and direct mediation in a range of situations from the Miskito/Sandinista conflict in Nicaragua to Somalia, Northern Ireland, Tajikistan, and the Philippines. His influential 1997 book Building Peace has become a classic in the discipline. In this book, Lederach poses the question, "How do we transcend the cycles of violence that bewitch our human community while still living in them?" Peacebuilding, in his view, is both a learned skill and an art. Finding this art, he says, requires a worldview shift. Conflict professionals must envision their work as a creative act-an exercise of what Lederach terms the "moral imagination." This imagination must, however, emerge from and speak to the hard realities of human affairs. The peacebuilder must have one foot in what is and one foot beyond what exists. The book is organized around four guiding stories that point to the moral imagination but are incomplete. Lederach seeks to understand what happened in these individual cases and how they are relevant to large-scale change. His purpose is not to propose a grand new theory. Instead he wishes to stay close to the "messiness" of real processes and change, and to recognize the serendipitous nature of the discoveries and insights that emerge along the way. overwhelmed the equally important creative process. Like most professional peacemakers, Lederach sees his work as a religious vocation. Lederach meditates on his own calling and on the spirituality that moves ordinary people to reject violence and seek reconciliation. Drawing on his twenty-five years of experience in the field he explores the evolution of his understanding of peacebuilding and points the way toward the future of the art." http://www.loc.gov/catdir/enhancements/fy0616/2004011794-d.html.