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A Nobel Prize–winning cancer biologist, leader of major scientific institutions, and scientific adviser to President Obama reflects on his remarkable career. A PhD candidate in English literature at Harvard University, Harold Varmus discovered he was drawn instead to medicine and eventually found himself at the forefront of cancer research at the University of California, San Francisco. In this “timely memoir of a remarkable career” (American Scientist), Varmus considers a life’s work that thus far includes not only the groundbreaking research that won him a Nobel Prize but also six years as the director of the National Institutes of Health; his current position as the president of the Memorial Sloan-Kettering Cancer Center; and his important, continuing work as scientific adviser to President Obama. From this truly unique perspective, Varmus shares his experiences from the trenches of politicized battlegrounds ranging from budget fights to stem cell research, global health to science publishing.
The nobel prize winning scientist and former director of the National Institue of Health recalls the events of his life and career in science, in an autobiography that also incorporates scientific information about cancer biology and issues in public heal
The nobel prize winning scientist and former director of the National Institue of Health recalls the events of his life and career in science, in an autobiography that also incorporates scientific information about cancer biology and issues in public health.
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this "dark matter" of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
The people who shaped America's public broadcasting system thought it should be "a civilized voice in a civilized community" -- a clear alternative to commercial broadcasting. This book tells the story of how NPR has tried to embody this idea. Michael P. McCauley describes NPR's evolution from virtual obscurity in the early 1970s, when it was riddled with difficulties -- political battles, unseasoned leadership, funding problems -- to a first-rate broadcast organization. The book draws on a wealth of primary evidence, including fifty-seven interviews with people who have been central to the NPR story, and it places the network within the historical context of the wider U.S. radio industry. Since the late 1970s, NPR has worked hard to understand the characteristics of its audience. Because of this, its content is now targeted toward its most loyal listeners -- highly educated baby-boomers, for the most part -- who help support their local stations through pledges and fund drives.
Presented here is a novel approach to understanding the relationship between the past and the present using the unique concept of re-use, wherein elements from the past are strategically adapted into the present, and thus become part of a new modernity. The book uses this method as a heuristic tool for analysing and interpreting cultural and political changes and the transnational flow of ideas, concepts and objects. The chapters apply this concept to South Asia but the concept of re-use and the method of its application are both general and amenable to cross-cultural and comparative analysis. Re-use is a collection of well-researched and lucidly written scholarly articles that apply the concept of re-use to different aspects of cultural, political and material life-from art, architecture and jewellery to religion, statesmen and legislatures. By not treating artistic, political, religious and cultural developments as linear evolutions, this book encourages readers to understand them as a continuous modification of the past and a periodic return to earlier forms. Beautifully illustrated with exquisite images, and containing a scholarly bibliography pointing in the direction of hitherto unexplored terrain, this new text will be a source of inspiration to the specialist and a source of delight to the general reader.
"This book is a marvelous counterpoint to the rich scholarship that has developed on the 'center' in Southeast Asian societies, providing for the first time an in-depth study of the play of personhood and power—and their historical transformations—on the Indonesian 'periphery.'"—Toby Alice Volkman, Social Science Research Council "A very important work, not only for the specialists of island Southeast Asia, but also for the general anthropologist. Atkinson accomplishes a number of tasks in fresh and innovative ways."—George E. Marcus, Rice University "Impressively informed by major theoretical issues, Atkinson's work at the same time brings her readers into the everyday world of the Wana in Sulawesi, Indonesia."—Renato Rosaldo, Stanford University
A revealing portrait of one of the most important scientists of the last century reveals David Baltimore's groundbreaking work in molecular biology and, most recently, his search for an AIDS vaccine, as well as his involvement in the anti-war movement and his Nobel Prize.
In 1989 Michael Bishop and Harold Varmus were awarded the Nobel Prize for their discovery that normal genes under certain conditions can cause cancer. In this book, Bishop tells us how he and Varmus made their momentous discovery. More than a lively account of the making of a brilliant scientist, How to Win the Nobel Prize is also a broader narrative combining two major and intertwined strands of medical history: the long and ongoing struggles to control infectious diseases and to find and attack the causes of cancer. Alongside his own story, that of a youthful humanist evolving into an ambivalent medical student, an accidental microbiologist, and finally a world-class researcher, Bishop gives us a fast-paced and engrossing tale of the microbe hunters. It is a narrative enlivened by vivid anecdotes about our deadliest microbial enemies--the Black Death, cholera, syphilis, tuberculosis, malaria, smallpox, HIV--and by biographical sketches of the scientists who led the fight against these scourges. Bishop then provides an introduction for nonscientists to the molecular underpinnings of cancer and concludes with an analysis of many of today's most important science-related controversies--ranging from stem cell research to the attack on evolution to scientific misconduct. How to Win the Nobel Prize affords us the pleasure of hearing about science from a brilliant practitioner who is a humanist at heart. Bishop's perspective will be valued by anyone interested in biomedical research and in the past, present, and future of the battle against cancer. Table of Contents: List of Illustrations Preface 1. The Phone Call 2. Accidental Scientist 3. People and Pestilence 4. Opening the Black Box of Cancer 5. Paradoxical Strife Notes Credits Index Reviews of this book: Despite his book's encouraging title, Bishop--who won a Nobel Prize in Physiology and Medicine in 1989--cautions that "I have not written an instruction manual for pursuit of the prize." Instead, he has written an amiable reflection on the experience of being a Nobelist, intertwined with some history and anecdotes about the award, and balanced by a wide-ranging review of his own career as an "accidental scientist"...Along the way, Bishop reflects on the history of our knowledge of microbes, cancer, the politics of funding research and present-day disenchantment with science. His main purpose in writing this book, Bishop says, is to show that "scientists are supremely human"--which he does with grace and charm. --Publishers Weekly Reviews of this book: How to Win the Nobel Prize is typical Bishop: modest, funny, insightful and offering an extremely clear and brief explanation of the basic scientific achievement that won the 1989 Nobel Prize in physiology or medicine for himself and longtime colleague, Harold Varmus, now president of the Memorial Sloan-Kettering Cancer Center. --David Perlman, San Francisco Chronicle Reviews of this book: In these pages Bishop reveals himself as a good writer blessed with enviable clarity, someone sensible and levelheaded who likes people and is enamored of his science. --John Tyler Bonner, New York Times Book Review Reviews of this book: This is a treasure...Above all, How to Win the Nobel Prize is a civilised book and a lavishly rewarding one. --Roy Herbert, New Scientist Reviews of this book: At its heart this analysis of science and the scientific world is a jewel. How to Win the Nobel Prize is an inspirational book, full of careful analysis and judgement. --John Oxford, Times Higher Education Supplement Reviews of this book: Bishop is a gifted communicator and teacher, and he sets about his task of educating scientists and the public by describing his career in science and science politics...In the end, Bishop's book provides a road map for scientists and the public to build a robust scientific community that serves our society well. --Andreas Trumpp and Daniel Kalman, Nature Cell Biology J. Michael Bishop has written his book 'to show that scientists are supremely human.' The book is also a lucid explanation of how science has been harnessed to fight the human afflictions of cancer and infectious disease. And the story ends with a wide-ranging overview of today's challenges to the scientific enterprise. Overall, a must-read for all those interested in science and scientists--even those with absolutely no interest in winning a Nobel Prize! --Bruce Alberts, President, National Academy of Sciences J. Michael Bishop is that rare scientist who is widely read in literature and poetry. Most importantly, he remembers what he reads and thinks deeply about it, as well as about all else in his rich life. The Nobel Prize he won and richly deserved, his political activism, his understanding of cancer and microbiology, his devotion to the practice of science--all these provide fodder for his writerly craft. Quite a wonderful book! --David Baltimore, Nobel Laureate and President, California Institute of Technology
Controversies over issues such as genetically engineered food, foot-and-mouth disease and the failure of risk models in the global financial crisis have raised concerns about the quality of expert scientific advice. The legitimacy of experts, and of the political decision-makers and policy-makers whom they advise, essentially depends on the quality of the advice. But what does quality mean in this context, and how can it be achieved? This volume argues that the quality of scientific advice can be ensured by an appropriate institutional design of advisory organisations. Using examples from a wide range of international case studies, including think tanks, governmental research institutes, agencies and academies, the authors provide a systematic guide to the major problems and pitfalls encountered in scientific advice and the means by which organisations around the world have solved these problems.
The Art and Politics of Documentary During Global Crisis
Author: T. J. Demos
Publisher: Duke University Press
The Migrant Image offers a sophisticated analysis of how refugee and exiled artists imagine a globalized world where borders are shifting, populations are forcibly removed from their homelands, and the gap separating the rich from the poor is growing.
Cineaste, America's leading magazine on the art and politics of the cinema, has been acclaimed worldwide for its interviews with filmmakers and film critics. In the early 1980s, a collection of some of the best of these was published as The Cineaste Interviews. Now, Cineaste Interviews 2 takes on the aesthetic and political issues that have dominated the film scene over the last twenty years. The focus of this particular collection of twenty-five interviews is on the role of the director.
In the tradition of Malcolm Gladwell, Gardner explores a new way of thinking about the decisions we make. We are the safest and healthiest human beings who ever lived, and yet irrational fear is growing, with deadly consequences — such as the 1,595 Americans killed when they made the mistake of switching from planes to cars after September 11. In part, this irrationality is caused by those — politicians, activists, and the media — who promote fear for their own gain. Culture also matters. But a more fundamental cause is human psychology. Working with risk science pioneer Paul Slovic, author Dan Gardner sets out to explain in a compulsively readable fashion just what that statement above means as to how we make decisions and run our lives. We learn that the brain has not one but two systems to analyze risk. One is primitive, unconscious, and intuitive. The other is conscious and rational. The two systems often agree, but occasionally they come to very different conclusions. When that happens, we can find ourselves worrying about what the statistics tell us is a trivial threat — terrorism, child abduction, cancer caused by chemical pollution — or shrugging off serious risks like obesity and smoking. Gladwell told us about “the black box” of our brains; Gardner takes us inside, helping us to understand how to deconstruct the information we’re bombarded with and respond more logically and adaptively to our world. Risk is cutting-edge reading.
The eighteenth century is recognized as a complex period of dramatic epistemic shifts that would have profound effects on the modern world. Paradoxically, the art of the era continues to be a relatively neglected field within art history. While women's private lives, their involvement with cultural production, the project of Enlightenment, and the public sphere have been the subjects of ground-breaking historical and literary studies in recent decades, women's engagement with the arts remains one of the richest and most under-explored areas for scholarly investigation. This collection of new essays by specialist authors addresses women's activities as patrons and as "patronized" artists over the course of the century. It provides a much needed examination, with admirable breadth and variety, of women's artistic production and patronage during the eighteenth century. By opening up the specific problems and conflicts inherent in women's artistic involvements from the perspective of what was at stake for the eighteenth-century women themselves, it also acts as a corrective to the generalizing and stereotyping about the prominence of those women, which is too often present in current day literature. Some essays are concerned with how women's involvement in the arts allowed them to fashion identities for themselves (whether national, political, religious, intellectual, artistic, or gender-based) and how such self-fashioning in turn enabled them to negotiate or intervene in the public domains of culture and politics where "The Woman Question" was so hotly debated. Other essays examine how men's patronage of women also served as a vehicle for self-fashioning for both artist and sponsor. Artists and patrons discussed include: Carriera; Queen Lovisa Ulrike and Chardin; the Bourbon Princesses Mlle Clermont, Mme Adélaïde and Nattier; the Duchess of Osuna and Goya; Marie-Antoinette and Vigée-Lebrun; Labille-Guiard; Queen Carolina of Naples, Prince Stanislaus Poniatowski of Poland and Kauffman; David and his students, Mesdames Benoist, Lavoisier and Mongez.
Writing about ideas, John Maynard Keynes noted that they are "more powerful than is commonly understood. Indeed the world is ruled by little else." One would expect, therefore, that political science--a discipline that focuses specifically on the nature of power--would have a healthy respect for the role of ideas. However, for a variety of reasons--not least of which is the influence of rational choice theory, which presumes that individuals are self-maximizing rational actors--this is not the case, and the literature on the topic is fairly thin. As the stellar cast of contributors to this volume show, ideas are in fact powerful shapers of political and social life. In Ideas and Politics in Social Science Research, Daniel B?land and Robert Henry Cox have gathered leading scholars from a variety of subdisciplines in political science and sociology to provide a general overview of the theoretical, empirical, and methodological issues raised by social science research on ideas and politics. Throughout, they hone in on three central questions. What is the theoretical basis for studying ideas in politics? What are the best methods? What sort of empirical puzzles can be solved by examining ideas and related phenomena such as discourse, policy paradigms, and framing processes? In sum, this is a state-of-the-art academic work on both the role of ideas in politics and the analytical utility that derives from studying them.
"No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms "a communism of textual matter," Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a "post-digital" approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books--to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud's paper gris-gris and Valerie Solanas's SCUM Manifesto, Guy Debord's sandpaper-bound Memoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as "communist object," the magazine as "diagrammatic publishing," political books in the modes of "root" and "rhizome," the "multiple single" of anonymous authorship, and myth as "unidentified narrative object." An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists' books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory"--
Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy—and what it meant to be authentically Mexican.
This book argues that journalism should treat itself as an academic discipline on a par with history, geography and sociology, and as an art form in its own right. Time, space, social relations and imagination are intrinsic to journalism. Chris Nash takes the major flaws attributed to journalism by its critics—a crude empiricism driven by an un-reflexive ‘news sense’; a narrow focus on a de-contextualised, transient present; and a too intimate familiarity with powerful sources—and treats them as methodological challenges. Drawing on the conceptual frameworks of Pierre Bourdieu, David Harvey, Henri Lefebvre, Michel-Rolph Trouillot and Gaye Tuchman, he explores the ways in which rigorous journalism practice can be theorised to meet these challenges. The argument proceeds through detailed case studies of work by two leading iconoclasts—the artist Hans Haacke and the 20th century journalist I.F. Stone. This deeply provocative and original study concludes that the academic understanding of journalism is fifty years behind its practice, and that it is long past time for scholars and practitioners to think about journalism as a disciplinary research practice. Drawing on an award-winning professional career and over three decades teaching journalism practice and theory, Chris Nash makes these ideas accessible to a broad readership among scholars, graduate students and thoughtful journalists looking for ways to expand the intellectual range of their work.