The Journals division of the MIT Press began in 1969 with two quarterly publications. Today, we publish 30 titles in the arts and humanities, economics, international affairs, history, political science, science and technology. We were one of the first university presses to offer its titles electronically, and the division continues to adopt technologies that allow us to better support the scholarly mission and disseminate our content widely. The division publishes journals owned by the MIT Press as well as journals sponsored by various societies and associations. We offer a suite of traditional and digital services that can be customized to fit each journal’s needs.
This book offers a decoder for some of the new forms of poetry enabled by digital technology. Examining many of the strange technological vectors converging on language, it proposes a poetics appropriate to the digital era while connecting digital poetry to traditional poetry's concerns with being (a.k.a. ontological implications). Digital poetry, in this context, is not simply a descendent of the book. Digital poems are not necessarily "poems" or written by "poets"; they are found in ads, conceptual art, interactive displays, performative projects, games, or apps. Poetic tools include algorithms, browsers, social media, and data. Code blossoms into poetic objects and poetic proto-organisms.Introducing the terms TAVs (Textual-Audio-Visuals) and TAVITS (Textual-Audio-Visual-Interactive), Aesthetic Animism theorizes a relation between scientific method and literary analysis; considers the temporal implications of animation software; and links software studies to creative writing. Above all it introduces many examples of digital poetry within a playful yet considered flexible taxonomy. In the future imagined here, digital poets program, sculpt, and nourish immense immersive interfaces of semi-autonomous word ecosystems. Poetry, enhanced by code and animated by sensors, reengages themes active at the origin of poetry: animism, agency, consciousness. Digital poetry will be perceived as living, because it is living.
African Arts presents original research and critical discourse on traditional, contemporary, and popular African arts and expressive cultures. Since 1967, the journal has reflected the dynamism and diversity of this work, publishing full-color, richly illustrated articles incorporating the most current theory, practice, and intercultural dialogue. AA offers readers peer-reviewed articles concerning a range of art forms and visual cultures of the world’s second largest continent and its diasporas, plus book and exhibition reviews, artist portfolios, photo essays, and more.
In this book, Omer Preminger investigates how the obligatory nature of predicate-argument agreement is enforced by the grammar. Preminger argues that an empirically adequate theory of predicate-argument agreement requires recourse to an operation, whose obligatoriness is a grammatical primitive not reducible to representational properties, but whose successful culmination is not enforced by the grammar. Preminger's argument counters contemporary approaches that find the obligatoriness of predicate-argument agreement enforced through representational means. The most prominent of these is Chomsky's "interpretability"-based proposal, in which the obligatoriness of predicate-argument agreement is enforced through derivational time bombs. Preminger presents an empirical argument against contemporary approaches that seek to derive the obligatory nature of predicate-argument agreement exclusively from derivational time bombs. He offers instead an alternative account based on the notion of obligatory operations better suited to the facts. The crucial data involves utterances that inescapably involve attempted-but-failed agreement and are nonetheless fully grammatical. Preminger combines a detailed empirical investigation of agreement phenomena in the Kichean (Mayan) languages, Zulu (Bantu), Basque, Icelandic, and French with an extensive and rigorous theoretical exploration of the far-reaching consequences of these data. The result is a novel proposal that has profound implications for the formalism that the theory of grammar uses to derive obligatory processes and properties.
In Alien Agency, Chris Salter tells three stories of art in the making. Salter examines three works in which the materials of art -- the "stuff of the world" -- behave and perform in ways beyond the creator's intent, becoming unknown, surprising, alien. Studying these works -- all three deeply embroiled in and enabled by science and technology -- allows him to focus on practice through the experiential and affective elements of creation. Drawing on extensive ethnographic observation and on his own experience as an artist, Salter investigates how researcher-creators organize the conditions for these experimental, performative assemblages -- assemblages that sidestep dichotomies between subjects and objects, human and nonhuman, mind and body, knowing and experiencing.Salter reports on the sound artists Bruce Odland and Sam Auinger (O+A) and their efforts to capture and then project unnoticed urban sounds; tracks the multi-year project TEMA (Tissue Engineered Muscle Actuators) at the art research lab SymbioticA and its construction of a hybrid "semi-living" machine from specially grown mouse muscle cells; and describes a research-creation project (which he himself initiated) that uses light, vibration, sound, smell, and other sensory stimuli to enable audiences to experience other cultures' "ways of sensing." Combining theory, diary, history, and ethnography, Salter also explores a broader question: How do new things emerge into the world and what do they do?
AJOB provides a rapid, peer-reviewed collection of scholarship about emerging issues in bioethics. The Journal is available in a unique print and internet format. Subscribers receive access to the ajobonline portal, which features on-line news updates, live bioethics events, rankings of bioethics graduate programs, and other materials.
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