Art Of Doing Science And Engineering

A groundbreaking treatise by one of the great mathematicians of our time, who argues that highly effective thinking can be learned. What spurs on and inspires a great idea? Can we train ourselves to think in a way that will enable world-changing understandings and insights to emerge? Richard Hamming said we can, and first inspired a generation of engineers, scientists, and researchers in 1986 with "You and Your Research," an electrifying sermon on why some scientists do great work, why most don't, why he did, and why you should, too. The Art of Doing Science and Engineering is the full expression of what "You and Your Research" outlined. It's a book about thinking; more specifically, a style of thinking by which great ideas are conceived. The book is filled with stories of great people performing mighty deeds––but they are not meant to simply be admired. Instead, they are to be aspired to, learned from, and surpassed. Hamming consistently returns to Shannon’s information theory, Einstein’s relativity, Grace Hopper’s work on high-level programming, Kaiser’s work on digital fillers, and his own error-correcting codes. He also recounts a number of his spectacular failures as clear examples of what to avoid. Originally published in 1996 and adapted from a course that Hamming taught at the U.S. Naval Postgraduate School, this edition includes an all-new foreword by designer, engineer, and founder of Dynamicland Bret Victor, and more than 70 redrawn graphs and charts. The Art of Doing Science and Engineering is a reminder that a childlike capacity for learning and creativity are accessible to everyone. Hamming was as much a teacher as a scientist, and having spent a lifetime forming and confirming a theory of great people, he prepares the next generation for even greater greatness.

Offering accessible and nuanced coverage, Richard W. Hamming discusses theories of probability with unique clarity and depth. Topics covered include the basic philosophical assumptions, the nature of stochastic methods, and Shannon entropy. One of the best introductions to the topic, The Art of Probability is filled with unique insights and tricks worth knowing.

The story of the man who instigated the work that led to the internet—and shifted our understanding of what computers could be. Behind every great revolution is a vision and behind perhaps the greatest revolution of our time, personal computing, is the vision of J.C.R. Licklider. He did not design the first personal computers or write the software that ran on them, nor was he involved in the legendary early companies that brought them to the forefront of our everyday experience. He was instead a relentless visionary that saw the potential of the way individuals could interact with computers and software. At a time when computers were a short step removed from mechanical data processors, Licklider was writing treatises on "human-computer symbiosis", "computers as communication devices", and a now not-so-unfamiliar "Intergalactic Network." His ideas became so influential, his passion so contagious, that Waldrop called him "computing's Johnny Appleseed. In a simultaneously compelling personal narrative and comprehensive historical exposition, Waldrop tells the story of the man who not only instigated the work that led to the internet, but also shifted our understanding of what computers were and could be. Included in this edition are also the original texts of Licklider's three most influential writings: 'Man-computer symbiosis' (1960), which outlines the vision that inspired the personal computer revolution of the 1970s; his 'Intergalactic Network' memo (1963), which outlines the vision that inspired the internet; and "The computer as a communication device" (1968, co-authored with Robert Taylor), which amplifies his vision for what the network could become.

In a world where engineering plays an increasingly important role, one wonders about the exact nature of the engineering experience in our time. In this second edition of The Existential Pleasures of Engineering, Samuel Florman perceptively explores how engineers think and feel about their profession. Dispelling the myth that engineering is cold and passionless, Florman celebrates it as something vital and alive. He views engineering as a response to some of our deepest impulses, rich in spiritual and sensual rewards. Opposing the "antitechnology" stance, Florman brilliantly emerges with a practical, creative, and fun philosophy of engineering that boasts his pride in his craft.

Introduction to state-space methods covers feedback control; state-space representation of dynamic systems and dynamics of linear systems; frequency-domain analysis; controllability and observability; shaping the dynamic response; more. 1986 edition.

A primer for design professionals across all disciplines that helps them create compelling and original concept designs by hand--as opposed to on the computer--in order to foster collaboration and win clients. In today's design world, technology for expressing ideas is pervasive; CAD models and renderings created with computer software provide an easy option for creating highly rendered pieces. However, the accessibility of this technology means that fewer designers know how to draw by hand, express their ideas spontaneously, and brainstorm effectively.In a unique board binding that mimics a sketchbook, Drawing Ideas provides a complete foundation in the techniques and methods for effectively communicating to an audience through clear and persuasive drawings.

Unrivalled in its coverage and unique in its hands-on approach, this guide to the design and construction of scientific apparatus is essential reading for every scientist and student of engineering, and physical, chemical, and biological sciences. Covering the physical principles governing the operation of the mechanical, optical and electronic parts of an instrument, new sections on detectors, low-temperature measurements, high-pressure apparatus, and updated engineering specifications, as well as 400 figures and tables, have been added to this edition. Data on the properties of materials and components used by manufacturers are included. Mechanical, optical, and electronic construction techniques carried out in the lab, as well as those let out to specialized shops, are also described. Step-by-step instruction supported by many detailed figures, is given for laboratory skills such as soldering electrical components, glassblowing, brazing, and polishing.

Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.