James Berger – författare

The emergence of data science, in recent decades, has magnified the need for efficient methodology for analyzing data and highlighted the importance of statistical inference. Despite the tremendous progress that has been made, statistical science is still a young discipline and continues to have several different and competing paths in its approaches and its foundations. While the emergence of competing approaches is a natural progression of any scientific discipline, differences in the foundations of statistical inference can sometimes lead to different interpretations and conclusions from the same dataset. The increased interest in the foundations of statistical inference has led to many publications, and recent vibrant research activities in statistics, applied mathematics, philosophy and other fields of science reflect the importance of this development. The BFF approaches not only bridge foundations and scientific learning, but also facilitate objective and replicable scientific research, and provide scalable computing methodologies for the analysis of big data. Most of the published work typically focusses on a single topic or theme, and the body of work is scattered in different journals. This handbook provides a comprehensive introduction and broad overview of the key developments in the BFF schools of inference. It is intended for researchers and students who wish for an overview of foundations of inference from the BFF perspective and provides a general reference for BFF inference.Key Features:Provides a comprehensive introduction to the key developments in the BFF schools of inferenceGives an overview of modern inferential methods, allowing scientists in other fields to expand their knowledgeIs accessible for readers with different perspectives and backgrounds

Language is integral to oursocial being. But what is the status of those who stand outside of language?The mentally disabled, "wild" children, people with autism and otherneurological disorders, as well as animals, infants, angels, and artificialintelligences, have all engaged with language from a position at its borders.In the intricate verbal constructions of modern literature, the'disarticulate'—those at the edges of language—have, paradoxically, playedessential, defining roles.Drawing on the disarticulate figures inmodern fictional works such as Billy Budd, The Sound and the Fury,Nightwood, White Noise, and The Echo Maker, among others,James Berger shows in this intellectually bracing study how these charactersmark sites at which aesthetic, philosophical, ethical, political, medical, andscientific discourses converge. It is also the place of the greatest ethicaltension, as society confronts the needs and desires of "the least of itsbrothers." Berger argues that the disarticulate is that which is unaccountablein the discourses of modernity and thus stands as an alternative to theprevailing social order. Using literary history and theory, as well asdisability and trauma theory, he examines how these disarticulate figuresreveal modernity's anxieties in terms of how it constructs its others.

Language is integral to oursocial being. But what is the status of those who stand outside of language?The mentally disabled, "wild" children, people with autism and otherneurological disorders, as well as animals, infants, angels, and artificialintelligences, have all engaged with language from a position at its borders.In the intricate verbal constructions of modern literature, the'disarticulate'—those at the edges of language—have, paradoxically, playedessential, defining roles.Drawing on the disarticulate figures inmodern fictional works such as Billy Budd, The Sound and the Fury,Nightwood, White Noise, and The Echo Maker, among others,James Berger shows in this intellectually bracing study how these charactersmark sites at which aesthetic, philosophical, ethical, political, medical, andscientific discourses converge. It is also the place of the greatest ethicaltension, as society confronts the needs and desires of "the least of itsbrothers." Berger argues that the disarticulate is that which is unaccountablein the discourses of modernity and thus stands as an alternative to theprevailing social order. Using literary history and theory, as well asdisability and trauma theory, he examines how these disarticulate figuresreveal modernity's anxieties in terms of how it constructs its others.

Explores the cultural function of the concept of “the end.”Apocalyptic thought is hardly unique to the end of the twentieth century; it’s been a fixture of American culture for decades. Currently, the media are rife with omens and signs, and we’re bombarded with warnings that “the end is near.” But as James Berger argues here, the end never comes. There is always something left. In this study of the cultural pursuit of the end and what follows, Berger contends that every apocalyptic depiction leaves something behind, some mixture of paradise and wasteland. Combining literary, psychoanalytic, and historical methods, Berger mines these depictions for their weight and influence on current culture. He applies wide-ranging evidence-from science fiction to Holocaust literature, from Thomas Pynchon to talk shows, from American politics to the fiction of Toni Morrison-to reveal how representations of apocalyptic endings are indelibly marked by catastrophic histories. These post-apocalyptic visions reveal as much about our perception of the past as they do about conceptions of the future. Berger examines the role of such historical crises as slavery, the Holocaust, and the Vietnam War and describes how these traumas continue to generate cultural symptoms. The shadow of impending apocalypse darkens today’s vision of the future, but it’s a familiar shadow: traumas we have already experienced as a culture are recycled into visions of new endings. Our “endings” are already after the end. Berger demonstrates that post-apocalyptic representations are both symptoms and therapies. Contemporary culture continually draws on these traumatic histories, trying to forget, remember, deny, and recover. After the End puts these visions in context, revealing them in some cases as dangerous evasions, in others as crucial tools for cultural survival. ISBN 0-8166-2932-3 Cloth £00.00 $47.95xxISBN 0-8166-2933-1 Paper £00.00 $18.95x248 Pages 5 7/8 x 9 MarchTranslation Inquiries: University of Minnesota Press

A humorous and poignant collection of poetry for children of all ages in the vein of Mother Goose Nursery Rhymes and Edward Lear's nonsense poems.“Delightfully fun. . . . Small moments of contemplation elevate the book, making for a compilation that's both joyful and thoughtful." —Kirkus Reviews"Poets Geri Lipschultz, James Berger, and Diane Stevenson have collaborated on a lively book of children’s poetry titled Did You Kiss a Cat Today???. Here, a remarkable sort of nature figures prominently: the sky as a “blue-black bed”; a conversation between a tree and its leaves; “a lonely-looking owl / (sitting) alone on a limb”; flower-eating rhinos and mammal-chasing dinosaurs; even an ornery little walnut. It’s the natural world as seen through the lens of a child’s imagination: unruly, colorful, and full of contradiction.” - Tucker Coombe (Terrain.org)Written by three accomplished poets, Did You Kiss A Cat Today??? speaks to how smart children are and their sly sense of humor. This fresh anthology conjures a child's world with irrepressible freshness.Did You Kiss A Cat Today??? shows young people that everything can be a poem. Sometimes poems tell a story with made-up words, or they're short lines that beg to be read out loud. Poetry can be true and serious and fun, and that's the magic of this book.Perfect for a funny bedtime read aloud or as a class read along, Did You Kiss A Cat Today??? will delight children and adults alike. Includes stickers and space to write your own poems at the back of the book.