Columbia University Press

Whenever a person engages with music-when a piano student practices a scale, a jazz saxophonist riffs on a melody, a teenager sobs to a sad song, or a wedding guest gets down on the dance floor-countless neurons are firing. Playing an instrument requires all of the resources of the nervous system, including cognitive, sensory, and motor functions. Composition and improvisation are remarkable demonstrations of the brain's capacity for creativity. Something as seemingly simple as listening to a tune involves mental faculties most of us don't even realize we have. Larry S. Sherman, a neuroscientist and lifelong musician, and Dennis Plies, a professional musician and teacher, collaborate to show how our brains and music work in harmony. They consider music in all the ways we encounter it-teaching, learning, practicing, listening, composing, improvising, and performing-in terms of neuroscience as well as music pedagogy, showing how the brain functions and even changes in the process. Every Brain Needs Music draws on leading behavioral, cellular, and molecular neuroscience research as well as surveys of more than a hundred musical people. It provides new perspectives on learning to play, teaching, how to practice and perform, the ways we react to music, and why the brain benefits from musical experiences. Written for both musical and nonmusical people, including newcomers to brain science, this book is a lively and easy-to-read exploration of the neuroscience of music and its significance in our lives.

Desire in Language presents a selection of Julia Kristeva's essays that trace the path of an investigation, extending over a period of ten years, into the semiotics of literature and the arts. Probing beyond the claims of Sigmund Freud, Jacques Lacan, and others, Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms,' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto "Cinema/Ideology/Criticism," helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Ranciere, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.

Jim Paul's meteoric rise took him from a small town in Northern Kentucky to governor of the Chicago Mercantile Exchange, yet he lost it all--his fortune, his reputation, and his job--in one fatal attack of excessive economic hubris. In this honest, frank analysis, Paul and Brendan Moynihan revisit the events that led to Paul's disastrous decision and examine the psychological factors behind bad financial practices in several economic sectors. This book--winner of a 2014 Axiom Business Book award gold medal--begins with the unbroken string of successes that helped Paul achieve a jet-setting lifestyle and land a key spot with the Chicago Mercantile Exchange. It then describes the circumstances leading up to Paul's $1.6 million loss and the essential lessons he learned from it--primarily that, although there are as many ways to make money in the markets as there are people participating in them, all losses come from the same few sources. Investors lose money in the markets either because of errors in their analysis or because of psychological barriers preventing the application of analysis. While all analytical methods have some validity and make allowances for instances in which they do not work, psychological factors can keep an investor in a losing position, causing him to abandon one method for another in order to rationalize the decisions already made. Paul and Moynihan's cautionary tale includes strategies for avoiding loss tied to a simple framework for understanding, accepting, and dodging the dangers of investing, trading, and speculating.