Behold the mighty chainsaw and discover its history, its influence, and its people 

Considered the most powerful of all hand tools, the chainsaw has been vital to contemporary life in ways large, small, and sometimes surprising since it first came on the market in the 1940s. In Chainsaw Love, author James Card celebrates this formidable implement in unflinching style, sharing stories and reflections about the world of chainsaws and the people who use and appreciate them. 

Card describes the personal freedom that comes from harvesting your own trees for firewood and introduces readers to lumberjack competitors, hot-saw builders, and the sculpture carvers who take sawing to new heights. Chainsaw Love asserts the key role chainsaws play in clearing the right-of-way for powerlines to keep the electrical grid humming; in forestry and conservation efforts to maintain desirable ecosystems; and in the sciences, where ecologists and astronomers use chainsaws to age trees for scientific research. Card also considers the chainsaw’s place in pop culture, from movies to rock songs to presidential photo ops. 

Readers of Chainsaw Love will discover the lore and terminology of forests and wood cutting— widow makers and windthrows, witness trees and barber chairs, pumpkin pine, devil’s forks, cat faces, and schoolmarms. Additionally, the book offers insights into chainsaw variations and parts, guidelines for saw care and maintenance, safety recommendations, and other hard-won tips and tricks. Dozens of photos from the field, as well as helpful diagrams, add to readers’ understanding of the saw’s evolution and modern use.  

Part homage, part social history, and part field guide, Chainsaw Love is the perfect book for chainsaw users of all stripes—from loggers to conservationists, woodworkers to weekend cabin-dwellers—and anyone curious about this magnificent and underappreciated machine. 

An original reflection on Italy’s postwar boom considers potentials for resistance in today’s neoliberal (dis)order

What can 1960s Italian cinema teach us about how to live and work today? Clocking Out challenges readers to think about labor, cinema, and machines as they are intertwined in complex ways in Italian cinema of the early ’60s. Drawing on critical theory and archival research, this book asks what kinds of fractures we might exploit for living otherwise, for resisting traditional narratives, and for anticapitalism. 

Italy in the 1960s was a place where the mass-producing factory was the primary mode of understanding what it meant to work, but it was also a time when things might have gone another way. This thinking and living differently appears in the cracks, lapses, or moments of film. Clocking Out is organized into scenes from an obscure 1962 Italian comedy (Renzo e Luciana, from Boccaccio 70). Reconsidering the origins of paradigms such as clocking in and out, “society is a factory,” and the gendered division of labor, Karen Pinkus challenges readers to think through cinema, enabling us to see gaps and breakdowns in the postwar order. She focuses on the Olivetti typewriter company and a little-known film from an Italian anthology movie, thinking with cinema about the power of the Autonomia movement, the refusal to work, and the questions of wages, paternalism, and sexual difference. 

Alternating microscopic attention to details and zooming outward, Pinkus examines rituals of production, automation, repetition, and fractures in a narrative of labor that begins in the 1960s and extends to the present—the age of the precariat, right-wing resentment, and nostalgia for an order that was probably never was.

Revealing cinema’s place in the coevolution of media technology and the human

Cinema did not die with the digital, it gave rise to it. According to Jeffrey West Kirkwood, the notion that digital technologies replaced analog obscures how the earliest cinema laid the technological and philosophical groundwork for the digital world. In Endless Intervals, he introduces a theory of semiotechnics that explains how discrete intervals of machines came to represent something like a mind—and why they were feared for their challenge to the uniqueness of human intelligence.

Examining histories of early cinematic machines, Kirkwood locates the foundations for a scientific vision of the psyche as well as the information age. He theorizes an epochal shift in the understanding of mechanical stops, breaks, and pauses that demonstrates how cinema engineered an entirely new model of the psyche—a model that was at once mechanical and semiotic, discrete and continuous, physiological and psychological, analog and digital.

Recovering largely forgotten and untranslated texts, Endless Intervals makes the case that cinema, rather than being a technology assaulting the psyche, is in fact the technology that produced the modern psyche. Kirkwood considers the ways machines can create meaning, offering a fascinating theory of how the discontinuous intervals of soulless mechanisms ultimately produced a rich continuous experience of inner life.

An innovative view of the role of fitness concepts in evolutionary theory.
 
Natural selection is one of the factors responsible for changes in biological populations. Some traits or organisms are fitter than others, and natural selection occurs when there are changes in the distribution of traits in populations because of fitness differences. Many philosophers of biology insist that a trait’s fitness should be defined as an average of the fitnesses of individual members of the population that have the trait.
 
Marshall Abrams argues convincingly against this widespread approach. As he shows, it conflicts with the roles that fitness is supposed to play in evolutionary theory and with the ways that evolutionary biologists use fitness concepts in empirical research. The assumption that a causal kind of fitness is fundamentally a property of actual individuals has resulted in unnecessary philosophical puzzles and years of debate. Abrams came to see that the fitnesses of traits that are the basis of natural selection cannot be defined in terms of the fitnesses of actual members of populations, as philosophers of biology often claim. Rather, it is an overall population-environment system—not actual, particular organisms living in particular environmental conditions—that is the basis of trait fitnesses. Abrams argues that by distinguishing different classes of fitness concepts and the roles they play in the practice of evolutionary biology, we can see that evolutionary biologists’ diverse uses of fitness concepts make sense together and are consistent with the idea that fitness differences cause evolution.
 
Abrams’s insight has broad significance, for it provides a general framework for thinking about the metaphysics of biological evolution and its relations to empirical research. As such, it is a game-changing book for philosophers of biology, biologists who want deeper insight into the nature of evolution, and anyone interested in the applied philosophy of probability.

The previous volume Advances in Unmanned Marine Vehicles brought together eighteen chapters describing research and developments in unmanned marine vehicles (UMVs). It was observed that almost without exception research groups worldwide were developing and working on real UMVs which means that they are able to test, evaluate and re-evaluate their designs in relatively quick succession, thereby rapidly reporting new approaches, techniques, designs and successes. This rapid design-evaluation cycle is the prime mover for progress, not only for consolidating designs but also leading to new design ideas and innovation. Since its publication in 2006, Advances in Unmanned Marine Vehicles has proven to be a useful and popular source of reference. However, the rapid design-evaluation cycle means further advances have been made which need to be reported. Thus, the seventeen chapters contained in this volume cover further advances in autonomous underwater vehicles, remotely operated vehicles, semi-submersibles, unmanned surface vessels whilst operating autonomously and/or in co-operation with other types of UMV. This book will be of interest to undergraduates, postgraduates, researchers and industrialists who are involved in the design and development of UMVs.

"The Lives of Machines is intelligent, closely argued, and persuasive, and puts forth a contention that will unsettle the current consensus about Victorian attitudes toward the machine."
---Jay Clayton, Vanderbilt University

Today we commonly describe ourselves as machines that "let off steam" or feel "under pressure." The Lives of Machines investigates how Victorian technoculture came to shape this language of human emotion so pervasively and irrevocably and argues that nothing is more intensely human and affecting than the nonhuman. Tamara Ketabgian explores the emergence of a modern and more mechanical view of human nature in Victorian literature and culture.

Treating British literature from the 1830s to the 1870s, this study examines forms of feeling and community that combine the vital and the mechanical, the human and the nonhuman, in surprisingly hybrid and productive alliances. Challenging accounts of industrial alienation that still persist, the author defines mechanical character and feeling not as erasures or negations of self, but as robust and nuanced entities in their own right. The Lives of Machines thus offers an alternate cultural history that traces sympathies between humans, animals, and machines in novels and nonfiction about factory work as well as in other unexpected literary sites and genres, whether domestic, scientific, musical, or philosophical. Ketabgian historicizes a model of affect and community that continues to inform recent theories of technology, psychology, and the posthuman.

The Lives of Machines will be of interest to students of British literature and history, history of science and of technology, novel studies, psychoanalysis, and postmodern cultural studies.

Cover image: "Power Loom Factory of Thomas Robinson," from Andrew Ure, The Philosophy of Manufactures (London: Charles Knight, 1835), frontispiece.

DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library

With The Modern Myths, brilliant science communicator Philip Ball spins a new yarn. From novels and comic books to B-movies, it is an epic exploration of literature, new media and technology, the nature of storytelling, and the making and meaning of our most important tales.

Myths are usually seen as stories from the depths of time—fun and fantastical, but no longer believed by anyone. Yet, as Philip Ball shows, we are still writing them—and still living them—today. From Robinson Crusoe and Frankenstein to Batman, many stories written in the past few centuries are commonly, perhaps glibly, called “modern myths.” But Ball argues that we should take that idea seriously. Our stories of Dracula, Dr. Jekyll and Mr. Hyde, and Sherlock Holmes are doing the kind of cultural work that the ancient myths once did. Through the medium of narratives that all of us know in their basic outline and which have no clear moral or resolution, these modern myths explore some of our deepest fears, dreams, and anxieties. We keep returning to these tales, reinventing them endlessly for new uses. But what are they really about, and why do we need them? What myths are still taking shape today? And what makes a story become a modern myth?

In The Modern Myths, Ball takes us on a wide-ranging tour of our collective imagination, asking what some of its most popular stories reveal about the nature of being human in the modern age.

The electrification of the economy entails the development and optimization of efficient electrical machines. Permanent magnet machines use permanent magnets, rather than windings, for field excitation. They are more efficient than other electrical machine technologies for high-efficiency applications. Multiphase machines, as compared to 3-phase machines, have advantages including lower torque pulsation, higher power density, and better fault tolerance.