Kirjahaku

The renowned New York Times bestselling author of Before the Dawn breaks down the startling ways that evolution explains why societies succeed and fail. In the modern world, human nature is seldom taken into account by those who would reshape society. Nicholas Wade argues that’s a terrible mistake.Human nature, in the view of the progressive left, is easily ignored or else shaped into whatever the latest political doctrine may require. But the conservative view, that social engineering can never change human nature for the better, is not true either. In this deeply researched survey of biological and political history, Wade reveals the effect of ideologies that ignore human nature. Marx and Engels proposed to eliminate the family as a social unit. Their followers have sought to overturn the patriarchy and divert allegiance from the family to the state. In reality, while some policies influence human nature for the better, like those that have abolished tribalism, others, such as socialism, conflict with human nature and undermine the operation of a society.Combining the scope of Yuval Noah Harari with the political savvy of Francis Fukuyama, The Origin of Politics, Wade’s work draws from anthropology, evolutionary biology, and historical analysis to explore how human nature shapes the direction of society—and how policies which ignore human nature risk chaos and even extinction.Political scientists agree that the roots of politics must lie in human nature, but then assume that human behavior is infinitely flexible. The Origin of Politics shows that limits set by human evolution cannot be ignored without penalty.

A provocative alternate history of humanity's ancient ancestry and the evolution of human nature draws on ground-breaking scientific findings to offer insight into such debated issues as the evolution of language and race, the domestication of companion animals, and the defeat of the Neanderthals. Reprint. 50,000 first printing.

A New York Times science reporter makes a startling new case that religion has an evolutionary basis. For the last 50,000 years, and probably much longer, people have practiced religion. Yet little attention has been given to the question of whether this universal human behavior might have been implanted in human nature. In this original and thought-provoking work, Nicholas Wade traces how religion grew to be so essential to early societies in their struggle for survival, how an instinct for faith became hardwired into human nature, and how it provided an impetus for law and government. The Faith Instinct offers an objective and nonpolemical exploration of humanity's quest for spiritual transcendence.

Drawing on startling new evidence from the mapping of the genome, an explosive new account of the genetic basis of race and its role in the human story Fewer ideas have been more toxic or harmful than the idea of the biological reality of race, and with it the idea that humans of different races are biologically different from one another. For this understandable reason, the idea has been banished from polite academic conversation. Arguing that race is more than just a social construct can get a scholar run out of town, or at least off campus, on a rail. Human evolution, the consensus view insists, ended in prehistory. Inconveniently, as Nicholas Wade argues in A Troublesome Inheritance, the consensus view cannot be right. And in fact, we know that populations have changed in the past few thousand years--to be lactose tolerant, for example, and to survive at high altitudes. Race is not a bright-line distinction; by definition it means that the more human populations are kept apart, the more they evolve their own distinct traits under the selective pressure known as Darwinian evolution. For many thousands of years, most human populations stayed where they were and grew distinct, not just in outward appearance but in deeper senses as well. Wade, the longtime journalist covering genetic advances for The New York Times, draws widely on the work of scientists who have made crucial breakthroughs in establishing the reality of recent human evolution. The most provocative claims in this book involve the genetic basis of human social habits. What we might call middle-class social traits--thrift, docility, nonviolence--have been slowly but surely inculcated genetically within agrarian societies, Wade argues. These "values" obviously had a strong cultural component, but Wade points to evidence that agrarian societies evolved away from hunter-gatherer societies in some crucial respects. Also controversial are his findings regarding the genetic basis of traits we associate with intelligence, such as literacy and numeracy, in certain ethnic populations, including the Chinese and Ashkenazi Jews. Wade believes deeply in the fundamental equality of all human peoples. He also believes that science is best served by pursuing the truth without fear, and if his mission to arrive at a coherent summa of what the new genetic science does and does not tell us about race and human history leads straight into a minefield, then so be it. This will not be the last word on the subject, but it will begin a powerful and overdue conversation.

An eloquent and sobering book which draws a new and clearer picture of how nuclear war would perhaps alter human life on earth forever.

In the last three years, a flood of new scientific findings - driven by revelations discovered in the human genome - has provided compelling new answers to many long-standing mysteries about our ancient ancestors. When did language emerge? How did our ancestors break out of Africa and defeat the more physically powerful Neanderthals who stood in their way? Why did we come to speak so many different languages? When did we learn to live with animals and where and when did we domesticate man's first animal companions, dogs? How did human nature change in the 35,000 years between the emergence of fully modern humans and the first settlements? In "Before the Dawn", Wade takes readers to the forefront of research in a sweeping and engrossing narrative unlike any other, the first to reveal how genetic discoveries are helping to weave together the perspectives of archaeology, palaeontology, anthropology, linguistics, and many other fields. This is popular science in the mould of Malcolm Gladwell's "Tipping Point" - a compelling synthesis of current research that will surprise and enlighten the general reader.

With the decoding of the human genome, researchers can now read the genetic program that evolution has written for the human body. A new generation of medical treatments is at hand, and researchers hope to uncover the genetic roots of illness and develop new therapies for most major diseases. Here, New York Times science writer Nicholas Wade describes the race to decode the genome and how the new knowledge will transform medicine. Soon, physicians will be able to screen people's genes for all the diseases to which they may be vulnerable. With the emerging art of regenerative medicine, physicians will use stem cells and genomic techniques to replace failing tissues and organs with new ones. Many drugs will be prescribed based on DNA information that will identify which pharmaceuticals are best for each patient. Medicine will be customized for a patient's genetic makeup, providing treatments based on a precise understanding of the mechanism of disease itself. It may even be possible to extend the human life span by manipulating the genes that control it.

In this book a leading researcher and artist explores how we see pictures and how they can communicate messages to us, both directly and indirectly by making allusions to objects in space or to stored images in our minds. Originally published in 1990, Dr Wade provides fascinating examples of pictures that communicate hidden messages, either by implying something else, or by a shape or portrait which is carried covertly within another design. He analyses image processing stages in vision, demonstrating that the various stages may be related to styles in representational art. He shows how the way we have been taught to look at and recognise objects, affects the way we see them. The book lavishly illustrates with original examples of visual allusions and includes detailed practical advice on how photographers and designers can create them. Essential reading for photographers, designers, artists, people in film and television, and anyone involved in visual science , visual communication and advertising.

In this book a leading researcher and artist explores how we see pictures and how they can communicate messages to us, both directly and indirectly by making allusions to objects in space or to stored images in our minds. Originally published in 1990, Dr Wade provides fascinating examples of pictures that communicate hidden messages, either by implying something else, or by a shape or portrait which is carried covertly within another design. He analyses image processing stages in vision, demonstrating that the various stages may be related to styles in representational art. He shows how the way we have been taught to look at and recognise objects, affects the way we see them. The book lavishly illustrates with original examples of visual allusions and includes detailed practical advice on how photographers and designers can create them. Essential reading for photographers, designers, artists, people in film and television, and anyone involved in visual science , visual communication and advertising.

Did the Covid virus jump naturally from an animal species to humans, or did it escape from a laboratory experiment? In this essay, science writer Nicholas Wade explores the two scenarios and argues that, on present evidence, lab escape is the more likely explanation. His inference is based on specific research being conducted at the Wuhan Institute of Virology and the Institute’s lack of adequate safety precautions, together with the continuing absence of any direct evidence to support natural emergence.The essay discusses the failure of the mainstream media to penetrate the self-interested assurance of virologists that lab escape was a dismissible conspiracy theory. It also notes how the politicization of discussion impeded consideration of the scientific facts.

This book celebrates binocular vision by presenting illustrations that require two eyes to see the effects of cooperation and competition between them. Pictures are flat but by printing them in different colours and viewing them through similarly coloured filters (included with the hardcover book) they are brought to life either in stereoscopic depth or in rivalry with one another. They are called anaglyphs and all those in the book display the ways in which the eyes interact. Thus, the reader is an integral element in the book and not all readers will see the same things. The history, science and art of binocular vision can be experienced in ways that are not usually available to us and with images made specifically for this book. The study of vision with two eyes was transformed by the invention of stereoscopes in the early 19th century. Anaglyphs are simple forms of stereoscopes that have three possible outcomes from viewing them – with each eye alone to see the monocular images, with both eyes to see them in stereoscopic depth or rivalry, or without the red/cyan glasses where they can have an appeal independent of the binocularity they encompass. Through the binocular pictures and the words that accompany them there will be an appreciation of just how remarkable the processes are that yield binocular singleness and depth. Moreover, the opportunities for expressing these processes are explored with many examples of truly binocular art.

This book celebrates binocular vision by presenting illustrations that require two eyes to see the effects of cooperation and competition between them. Pictures are flat but by printing them in different colours and viewing them through similarly coloured filters (included with the hardcover book) they are brought to life either in stereoscopic depth or in rivalry with one another. They are called anaglyphs and all those in the book display the ways in which the eyes interact. Thus, the reader is an integral element in the book and not all readers will see the same things. The history, science and art of binocular vision can be experienced in ways that are not usually available to us and with images made specifically for this book. The study of vision with two eyes was transformed by the invention of stereoscopes in the early 19th century. Anaglyphs are simple forms of stereoscopes that have three possible outcomes from viewing them – with each eye alone to see the monocular images, with both eyes to see them in stereoscopic depth or rivalry, or without the red/cyan glasses where they can have an appeal independent of the binocularity they encompass. Through the binocular pictures and the words that accompany them there will be an appreciation of just how remarkable the processes are that yield binocular singleness and depth. Moreover, the opportunities for expressing these processes are explored with many examples of truly binocular art.

We delight in using our eyes, particularly when puzzling over pictures. Art and illusionists is a celebration of pictures and the multiple modes of manipulating them to produce illusory worlds on flat surfaces. This has proved fascinating to humankind since the dawning of depiction. Art and illusionists is also a celebration of the ways we see pictures, and of our ability to distil meaning from arrays of contours and colours. Pictures are not only a source of fascination for artists, who produce them, but also for scientists, who analyse the perceptual effects they induce. Illusions provide the glue to cement the art and science of vision. Painters plumb the art of observation itself whereas scientists peer into the processes of perception. Both visual artists and scientists have produced patterns that perplex our perceptions and present us with puzzles that we are pleased to peruse. Art and illusionists presents these two poles of pictorial representation as well as presenting novel ‘perceptual portraits’ of the artists and scientists who have augmented the art of illusion. The reader can experience the paradoxes of pictures as well as producing their own by using the stereoscopic glasses enclosed and the transparent overlay for making dynamic moiré patterns.