A Nobel Prize–winning cancer biologist, leader of major scientific institutions, and scientific adviser to President Obama reflects on his remarkable career. A PhD candidate in English literature at Harvard University, Harold Varmus discovered he was drawn instead to medicine and eventually found himself at the forefront of cancer research at the University of California, San Francisco. In this “timely memoir of a remarkable career” (American Scientist), Varmus considers a life’s work that thus far includes not only the groundbreaking research that won him a Nobel Prize but also six years as the director of the National Institutes of Health; his current position as the president of the Memorial Sloan-Kettering Cancer Center; and his important, continuing work as scientific adviser to President Obama. From this truly unique perspective, Varmus shares his experiences from the trenches of politicized battlegrounds ranging from budget fights to stem cell research, global health to science publishing.

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities. The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art–science collaborations. Rogers’s subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art–science curator, draws on her own work to consider the concept of curation as a form of critical analysis.

Murray Edelman holds a unique and distinguished position in American political science. For decades one of the few serious scholars to question dominant rational-choice interpretations of politics, Edelman looked instead to the powerful influence of signs, spectacles, and symbols—of culture—on political behavior and political institutions. His first, now classic, book, The Symbolic Uses of Politics, created paths of inquiry in political science, communication studies, and sociology that are still being explored today. In this book, Edelman continues his quest to understand the influence of perception on the political process by turning to the role of art. He argues that political ideas, language, and actions cannot help but be based upon the images and narratives we take from literature, paintings, film, television, and other genres. Edelman believes art provides us with models, scenarios, narratives, and images we draw upon in order to make sense of political events, and he explores the different ways art can shape political perceptions and actions to both promote and inhibit diversity and democracy. "Elegantly written. . . . He brilliantly contends that art helps create the images from which opinion-molders and citizens construct the social realities of politics."—Choice "It is perhaps the freshness with which he puts his case that is what makes From Art to Politics, as well as his other works, so challenging and invigorating."—Philip Abbott, Review of Politics

An examination of the origins and legacy of the conceptual art movement.

Two books in one. This book contains the complete award-winning translation of Sun Tzu's "The Art of War" plus its line-by-line adaptation, "The Art of Politics," applying Sun Tzu's proven principles to winning campaigns. The two versions, the original text and its application to politics, are shown side-by-side, line-by-line. The purpose of this book is to introduce those involved in political campaigns to the strategic principles of Sun Tzu's "The Art of War" and their use in politics. In Sun Tzu's view, success goes not to the most aggressive but to those who best understand their situation and what their alternatives really are. When you have mastered Sun Tzu's system of strategy, you will be able to almost instantly analyze political situations, spot political opportunities, and make the appropriate decisions. This book addresses a range of challenges, including evaluating your supporters and voters, planning a campaign, adjusting to the local voters' specific needs, diagnosing a voter's behavior, and so on. Sample Text (Chapter One, Stanzas 1-2) "Sun Tzu said: This is war. It is the most important skill in the nation. It is the basis of life and death. It is the philosophy of survival or destruction. You must know it well." The campaigner hears: This is politics. It is the most valuable skill in any nation. It is the source of a nation's wealth or poverty. It is a course to success or disaster. You must study politics seriously. "Your skill comes from five factors. Study these factors when you plan war. You must insist on knowing your situation. 1. Discuss philosophy. 2. Discuss the climate. 3. Discuss the ground. 4. Discuss leadership. 5. Discuss military methods." Using five factors determines your political success. Consider all these factors when you analyze a given political race. You use them to know your political position: 1. Talk about your political philosophy. 2. Talk about the changing political trends. 3. Talk about the politics of the geographical area. 4. Talk about each politician's talents. 5. And talk about your campaign process. Table of Contents Art of War Art of Politics Foreword: Using Strategy in Politics 9 Introduction: Sun Tzu's Basic Concepts 17 1 Analysis 24 Your Political Position 26 2 Going to War 38 Picking a Campaign 40 3 Planning an Attack 50 Your Political Ground 52 4 Positioning 62 Positions on Issues 64 5 Momentum 74 Creative Campaigning 76 6 Weakness and Strength 86 Your Voters' Needs 88 7 Armed Conflict 102 Contacting Voters 104 8 Adaptability 116 Campaign Adjustments 118 9 Armed March 126 Moving the Campaign Forward 128 10 Field Position 146 Campaign Positions 148 11 Types of Terrain 164 Campaign Stages 166 12 Attacking with Fire 190 Firestorms of Controversy 192 13 Using Spies 202 Political Intelligence 204 Glossary of Terms in The Art of War 216 Index of Topics in The Art of War 220 About the Authors

Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.

Dispelling the myth of scientific purity and detachment, Daniel S. Greenberg documents in revealing detail the political processes that underpinned government funding of science from the 1940s to the 1970s.