Surfing the Cosmos is an original book of photographs and text that visually explores the high/low of energy in the slums of Rio de Janeiro as compared with the high-tech physics of CERN, where discovering the origins of the universe and the elementary particles from which it is made are examined. Within this visual story are the unplanned beautiful drawings that humans make in space with electrical wires, whether from the favela or CERN. These "drawings" inspired a series of artworks/photographs that are pictured in this book, often along with their photographic source or the spirit of the community from which they are derived (either favela or CERN). The human energy of the favela is also mirrored in CERN with one specific comparison of the graffiti from Rio and the chalkboards of CERN, both viewed as works of art and sources that motivated the author's response as demonstrated in his previous works through examples including paintings, fashion scarves, handmade rugs from Nepal, bamboo cotton face masks along with surfboards (chalkboards) and skatedecks.

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.

This book provides a panoramic view from 1927-1938 of the development of a physical theory that has been on the cutting-edge of theoretical physics ever since P. A. M. Dirac's quantization of the electromagnetic field in 1927: quantum electrodynamics. Like the classic papers chosen for this volume, the introductory Frame-Setting Essay emphasizes conceptual transformations which carried physicists to the threshold of renormalization theory. The published papers and correspondence of Bohr, Heisenberg, Dirac and Pauli provide a fascinating analysis of the meaning and structure of a scientific theory. This book goes beyond the historical and philosophical into current physics. Unavailability of English-language versions of certain key papers, some of which are provided in this book, has prevented their implications from being fully realized. Awareness of research from sixty years ago could well provide insights for future developments.

An analysis of one of the three great papers Einstein published in 1905, each of which was to alter forever the field it dealt with. The second of these papers, "On the Electrodynamics of Moving Bodies", established what Einstein sometimes referred to as the "so-called Theory of Relativity". Miller uses the paper to provide a window on the intense intellectual struggles of physicists in the first decade of the 20th century: the interplay between physical theory and empirical data; the fiercely held notions that could not be articulated clearly or verified experimentally; the great intellectual investment in existing theories, data, and interpretations - and associated intellectual inertia - and the drive to the long-sought-for unification of the sciences. Since its original publication, this book has become a standard reference and sourcebook for the history and philosophy of science; however, it can equally well serve as a text on twentieth-century philosophy.

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."

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."

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.