After a nuclear disaster, the people of Diablo Keep, located in California's San Gabriel Mountains, work to survive long enough to eventually build a bridge to the stars and escape a dying Earth.

As birthrates continue to fall, the survival of Diablo Keep is dependent on its herd of Tyrannobos - fire-breathing, two-and-a-half story tall, omnivorous long-horned cattle.

The people of Diablo Keep prepare for a visit from the Governor of New California and Rich Ransdell.

The people of Diablo Keep are falling into despair until Paul Royer returns from a strange encounter on the cliffs.

“In addressing a pedagogical problem ―how to talk about music as if it meant something other than itself – Philip Tagg raises fundamental questions about western epistemology as well as some of its strategically mystifying discourses. With an unsurpassed authority in the field, the author draws on a lifetime of critical reflection on the experience of music, and how to communicate it without resorting to exclusionary jargon. This is a must-read book for anyone interested in music, for whatever reason: students, teachers, researchers, performers, industry and policy stakeholders, or just to be able to talk intelligently about the musical experience.” (Prof. Bruce Johnson)

Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics. The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses to these commentaries, as well as his thoughts on the implications of artificial creativity. The book (and corresponding Web site) includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also accompanied by a CD containing performances of the music in the text.

The texts of Boris Hessen and Henryk Grossmann assembled in this volume are important contributions to the historiography of the Scienti?c Revolution and to the methodology of the historiography of science. They are of course also historical documents, not only testifying to Marxist discourse of the time but also illustrating typical European fates in the ?rst half of the twentieth century. Hessen was born a Jewish subject of the Russian Czar in the Ukraine, participated in the October Revolution and was executed in the Soviet Union at the beginning of the purges. Grossmann was born a Jewish subject of the Austro-Hungarian Kaiser in Poland and served as an Austrian of?cer in the First World War; afterwards he was forced to return to Poland and then because of his revolutionary political activities to emigrate to Germany; with the rise to power of the Nazis he had to ?ee to France and then Americawhilehisfamily,whichremainedinEurope,perishedinNaziconcentration camps. Our own acquaintance with the work of these two authors is also indebted to historical context (under incomparably more fortunate circumstances): the revival of Marxist scholarship in Europe in the wake of the student movement and the p- fessionalization of history of science on the Continent. We hope that under the again very different conditions of the early twenty-?rst century these texts will contribute to the further development of a philosophically informed socio-historical approach to the study of science.

"This is not just another book: it is a major achievement."—Eric R. Wolf, author of Europe and the People Without History