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Six essays by artificial intelligence pioneer Marvin Minsky on how education can foster inventiveness, paired with commentary by Minsky's former colleagues and students.\n\nMarvin Minsky was a pioneering researcher in artificial intelligence whose work led to both theoretical and practical advances. His work was motivated not only by technological advancement but also by the desire to understand the workings of our own minds. Minsky's insights about the mind provide fresh perspectives on education and how children learn. This book collects for the first time six essays by Minsky on children, learning, and the potential of computers in school to enrich children's development. In these essays Minsky discusses the shortcomings of conventional education (particularly in mathematics) and considers alternative approaches; reflects on the role of mentors; describes higher-level strategies for thinking across domains; and suggests projects for children to pursue. Each essay is paired with commentary by one of Minsky's former colleagues or students, which identifies Minsky's key ideas and connects his writings to current research. Minsky once observed that in traditional teaching, \"instead of promoting inventiveness, we focus on preventing mistakes.\" These essays offer Minsky's unique insights into how education can foster inventiveness.\n\nCommentary by Hal Abelson, Walter Bender, Alan Kay, Margaret Minsky, Brian Silverman, Gary Stager, Mike Travers, Patrick Henry Winston

Six essays by artificial intelligence pioneer Marvin Minsky on how education can foster inventiveness, paired with commentary by Minsky's former colleagues and students.\n\nMarvin Minsky was a pioneering researcher in artificial intelligence whose work led to both theoretical and practical advances. His work was motivated not only by technological advancement but also by the desire to understand the workings of our own minds. Minsky's insights about the mind provide fresh perspectives on education and how children learn. This book collects for the first time six essays by Minsky on children, learning, and the potential of computers in school to enrich children's development. In these essays Minsky discusses the shortcomings of conventional education (particularly in mathematics) and considers alternative approaches; reflects on the role of mentors; describes higher-level strategies for thinking across domains; and suggests projects for children to pursue. Each essay is paired with commentary by one of Minsky's former colleagues or students, which identifies Minsky's key ideas and connects his writings to current research. Minsky once observed that in traditional teaching, \"instead of promoting inventiveness, we focus on preventing mistakes.\" These essays offer Minsky's unique insights into how education can foster inventiveness.\n\nCommentary by Hal Abelson, Walter Bender, Alan Kay, Margaret Minsky, Brian Silverman, Gary Stager, Mike Travers, Patrick Henry Winston

Richard Minsky, founder of the Center for Book Arts in New York City, is known for his conceptual approach to hand bookbinding and his commitment to changing the perception of the book arts from craft to fine art. He combines a background in economics with an innovative use of traditional methods and new materials to create sculptural, often political, bookworks. Minsky's blending of an eclectic mix of interests, from musical and theatre performance to social issues and virtual worlds, remains a hallmark of his career. This collection showcases his editioned (non-commissioned) bookworks alongside selections from the Richard Minsky Archive, which documents the history of his career and his working process.

Richard Minsky, founder of the Center for Book Arts in New York City, is known for his conceptual approach to hand bookbinding and his commitment to changing the perception of the book arts from craft to fine art. He combines a background in economics with an innovative use of traditional methods and new materials to create sculptural, often political, bookworks. Minsky's blending of an eclectic mix of interests, from musical and theatre performance to social issues and virtual worlds, remains a hallmark of his career. This collection showcases his editioned (non-commissioned) bookworks alongside selections from the Richard Minsky Archive, which documents the history of his career and his working process.

BBC Radio 4 BOOK OF THE WEEK\nFORWARD PRIZE 2019 SHORTLIST\nPOETRY BOOK SOCIETY CHOICE 2019\n\nThe long-awaited new collection from Ilya Kaminsky: a remarkable parable in poems which asks us, what is silence?\n\n\nDeaf Republic opens in a time of political unrest in an occupied territory. It is uncertain where we are or when, in what country or during what conflict, but we come to recognise that these events are also happening here, right now. This astonishing parable in poems unfolds episodically like a play, its powerful narrative provoked by a tragic opening scene: when soldiers breaking up a protest kill a deaf boy, the gunshot becomes the last thing the citizens hear - in that moment, all have gone deaf. Inside this silence, their dissent becomes coordinated by sign language. The story then follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting their child; the daring Momma Galya, instigating the insurgency from her puppet theatre; and Galya's puppeteers, covertly teaching signs by day and by night heroically luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.

BBC Radio 4 BOOK OF THE WEEK\nFORWARD PRIZE 2019 SHORTLIST\nPOETRY BOOK SOCIETY CHOICE 2019\n\nThe long-awaited new collection from Ilya Kaminsky: a remarkable parable in poems which asks us, what is silence?\n\n\nDeaf Republic opens in a time of political unrest in an occupied territory. It is uncertain where we are or when, in what country or during what conflict, but we come to recognise that these events are also happening here, right now. This astonishing parable in poems unfolds episodically like a play, its powerful narrative provoked by a tragic opening scene: when soldiers breaking up a protest kill a deaf boy, the gunshot becomes the last thing the citizens hear - in that moment, all have gone deaf. Inside this silence, their dissent becomes coordinated by sign language. The story then follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting their child; the daring Momma Galya, instigating the insurgency from her puppet theatre; and Galya's puppeteers, covertly teaching signs by day and by night heroically luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.

Aline Kominsky-Crumb immediately made her mark in the Bay Area s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 1960s. Kominsky-Crumb didn t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell. Collecting comics from the 1970s through today, Love That Bunch is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most important, she does so without apology. One of the most famous and idiosyncratic cartoonists of our time, Kominsky-Crumb traces her steps from a Beatles-loving fangirl, an East Village groupie, an adult grappling with her childhood, and a 1980s housewife and mother, to a new thirty-page story, Dream House, that looks back on her childhood forty years later. Love That Bunch will be Kominsky-Crumb s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows her to the present, including an afterword penned by the noted comics scholar Hillary Chute.

Aline Kominsky-Crumb immediately made her mark in the Bay Area s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 1960s. Kominsky-Crumb didn t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell. Collecting comics from the 1970s through today, Love That Bunch is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most important, she does so without apology. One of the most famous and idiosyncratic cartoonists of our time, Kominsky-Crumb traces her steps from a Beatles-loving fangirl, an East Village groupie, an adult grappling with her childhood, and a 1980s housewife and mother, to a new thirty-page story, Dream House, that looks back on her childhood forty years later. Love That Bunch will be Kominsky-Crumb s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows her to the present, including an afterword penned by the noted comics scholar Hillary Chute.

Per anni, l’Intelligenza Artificiale, a cui oggi si dedicano milioni di dollari per la ricerca e l’energia intellettuale di migliaia di scienziati, è stata una sorta di chimera nella mente di un uomo: Marvin Minsky. A lui in primo luogo si deve, infatti, se questa disciplina ha assunto una fisionomia, si è distaccata dal resto della ricerca, e infine, se ha attratto così tanti cervelli. Ma tutto questo si manifestava, per anni, attraverso brevi e densissimi articoli. Mentre, per altrettanti anni, correva voce che Minsky «stava preparando un libro», il quale naturalmente sarebbe stato il libro. E un giorno il libro si manifestò: è La società della mente. Qui Minsky, con gesto che è tipico dei grandi scienziati della mente, non vuole accettare nulla per inteso. Occorre partire veramente da zero, se si vuole tentare una risposta alla temibile domanda che egli pone fin dalle prime righe: «Come è possibile che il cervello, in apparenza così solido, sia il supporto di cose tanto impalpabili come i pensieri?». Inutile dire che, se l’inizio del libro è semplicissimo, alla fine ci troveremo avvolti da una rete di pensieri altamente complessa, in obbedienza al sapiente precetto di Einstein: «Ogni cosa deve essere resa quanto più semplice possibile, ma non ancora più semplice». Così, in questa rete, riconosceremo i famosi «frames» che Minsky aveva già introdotto in anni passati, ma anche (e questo è una sorpresa) discussioni che coinvolgono Freud o Piaget. Alla fine, ci accorgeremo che questo libro tiene fede, sino ai limiti di ciò che oggi si può dire nella scienza, alla sua scommessa iniziale: render conto di come funziona il cervello, questa «vasta società organizzata», e di conseguenza la nostra mente, se è vero, come Minsky afferma, che «la mente è semplicemente quello che fa il cervello».

Così surreali da essere vere, le poesie del pluripremiato esordio di Ilya Kaminsky, autore di Repubblica sorda, ballano attraverso gli incontri dentro e fuori il nucleo familiare. Le persone raffigurate sono in egual misura brutali e tenere, in narrazioni sinistramente innocenti, avvincenti e convincenti. Le poesie attingono a piene mani all’archetipo, al mito e alle figure letterarie russe, delineando ambienti domestici onirici e inafferrabili, tra umorismo, tormento e una musica incalzante travolgente.

Described as 'a rich, reverberative dance with memories of a haunted city' (LA Times), the poems of the prize-winning debut Dancing in Odessa by Ilya Kaminsky, author of Deaf Republic, draw on archetype, myth and Russian literary figures. Tightly realised domestic settings are invigorated with a contemporary relevance, humour and torment, and a distinctive, transcendent music. \n\n\n'With his magical style in English, Kaminsky's poems in Dancing in Odessa seem like a literary counterpart to Chagall in which laws of gravity have been suspended and colors reassigned, but only to make everyday reality that much more indelible. His imagination is so transformative that we respond with equal measures of grief and exhilaration.' The American Academy of Arts and Letters\n\n'Dancing in Odessa by Ilya Kaminsky tops the list because he is one of those rarest of finds in this or any century, a writer who establishes what poetry can be.' The New York Times

Per anni, l’Intelligenza Artificiale, a cui oggi si dedicano milioni di dollari per la ricerca e l’energia intellettuale di migliaia di scienziati, è stata una sorta di chimera nella mente di un uomo: Marvin Minsky. A lui in primo luogo si deve, infatti, se questa disciplina ha assunto una fisionomia, si è distaccata dal resto della ricerca, e infine, se ha attratto così tanti cervelli. Ma tutto questo si manifestava, per anni, attraverso brevi e densissimi articoli. Mentre, per altrettanti anni, correva voce che Minsky «stava preparando un libro», il quale naturalmente sarebbe stato il libro. E un giorno il libro si manifestò: è La società della mente. Qui Minsky, con gesto che è tipico dei grandi scienziati della mente, non vuole accettare nulla per inteso. Occorre partire veramente da zero, se si vuole tentare una risposta alla temibile domanda che egli pone fin dalle prime righe: «Come è possibile che il cervello, in apparenza così solido, sia il supporto di cose tanto impalpabili come i pensieri?». Inutile dire che, se l’inizio del libro è semplicissimo, alla fine ci troveremo avvolti da una rete di pensieri altamente complessa, in obbedienza al sapiente precetto di Einstein: «Ogni cosa deve essere resa quanto più semplice possibile, ma non ancora più semplice». Così, in questa rete, riconosceremo i famosi «frames» che Minsky aveva già introdotto in anni passati, ma anche (e questo è una sorpresa) discussioni che coinvolgono Freud o Piaget. Alla fine, ci accorgeremo che questo libro tiene fede, sino ai limiti di ciò che oggi si può dire nella scienza, alla sua scommessa iniziale: render conto di come funziona il cervello, questa «vasta società organizzata», e di conseguenza la nostra mente, se è vero, come Minsky afferma, che «la mente è semplicemente quello che fa il cervello».

Così surreali da essere vere, le poesie del pluripremiato esordio di Ilya Kaminsky, autore di Repubblica sorda, ballano attraverso gli incontri dentro e fuori il nucleo familiare. Le persone raffigurate sono in egual misura brutali e tenere, in narrazioni sinistramente innocenti, avvincenti e convincenti. Le poesie attingono a piene mani all’archetipo, al mito e alle figure letterarie russe, delineando ambienti domestici onirici e inafferrabili, tra umorismo, tormento e una musica incalzante travolgente.

\"Today, Mr. Minsky's view [of economics] is more relevant than ever.\"- The New York Times\n\n\"Indeed, the Minsky moment has become a fashionable catch phrase on Wall Street.\"-The Wall Street Journal\n\nJohn Maynard Keynes offers a timely reconsideration of the work of the revered economics icon. Hyman Minsky argues that what most economists consider Keynesian economics is at odds with the major points of Keynes's The General Theory of Employment, Interest, and Money. Keynes and Minsky refuse to ignore pervasive uncertainty. Once uncertainty is given center stage, recurring episodes of financial system crises are all but inescapable. As Robert Barbera notes in a new preface, \"Benign economic circumstances...invite increasingly aggressive financial market wagers. Innovation in finance is a signature development in a capitalist economy. Once leveraged wagers are in place, small disappointments can have exaggerated consequences.\" Thus for Minsky economic calm on Main Street engenders financial system fragility which, in turn, ensures a perpetuation of boom and bust cycles.\n\nMinsky colleagues Dimitri B. Papadimitriou and L. Randall Wray write in a new introduction, \"We offer this new edition, in the hope that it will contribute to the reformation of economic theory so that it can address the world in which we actually live-the world that was always the topic of Minsky's analysis.\"