As staff writer for Scientific American, John Horgan has a window on contemporary science unsurpassed in all the world. Who else routinely interviews the likes of Lynn Margulis, Roger Penrose, Francis Crick, Richard Dawkins, Freeman Dyson, Murray Gell-Mann, Stephen Jay Gould, Stephen Hawking, Thomas Kuhn, Chris Langton, Karl Popper, Stephen Weinberg, and E.O. Wilson, with the freedom to probe their innermost thoughts? In The End Of Science, Horgan displays his genius for getting these larger-than-life figures to be simply human, and scientists, he writes, "are rarely so human . . . so at there mercy of their fears and desires, as when they are confronting the limits of knowledge."This is the secret fear that Horgan pursues throughout this remarkable book: Have the big questions all been answered? Has all the knowledge worth pursuing become known? Will there be a final "theory of everything" that signals the end? Is the age of great discoverers behind us? Is science today reduced to mere puzzle solving and adding detains to existing theories? Horgan extracts surprisingly candid answers to there and other delicate questions as he discusses God, Star Trek, superstrings, quarks, plectics, consciousness, Neural Darwinism, Marx's view of progress, Kuhn's view of revolutions, cellular automata, robots, and the Omega Point, with Fred Hoyle, Noam Chomsky, John Wheeler, Clifford Geertz, and dozens of other eminent scholars. The resulting narrative will both infuriate and delight as it mindless Horgan's smart, contrarian argument for "endism" with a witty, thoughtful, even profound overview of the entire scientific enterprise. Scientists have always set themselves apart from other scholars in the belief that they do not construct the truth, they discover it. Their work is not interpretation but simple revelation of what exists in the empirical universe. But science itself keeps imposing limits on its own power. Special relativity prohibits the transmission of matter or information as speeds faster than that of light; quantum mechanics dictates uncertainty; and chaos theory confirms the impossibility of complete prediction. Meanwhile, the very idea of scientific rationality is under fire from Neo-Luddites, animal-rights activists, religious fundamentalists, and New Agers alike. As Horgan makes clear, perhaps the greatest threat to science may come from losing its special place in the hierarchy of disciplines, being reduced to something more akin to literaty criticism as more and more theoreticians engage in the theory twiddling he calls "ironic science." Still, while Horgan offers his critique, grounded in the thinking of the world's leading researchers, he offers homage too. If science is ending, he maintains, it is only because it has done its work so well.

It seems that for almost as long as science fiction has been a genre fans have been thrashing out the question of whether it is getting tired, stale or even dying. THE END OF SCIENCE FICTION? brings Nader Elhefnawy's 2008 essay about the debate together with newer writing reconsidering both the original, and the bigger controversy that sparked it-whether science fiction has already seen its best days, why this might be the case, and what the future of this most future-oriented genre may hold in store for us all.

The title The End of Science? asks not whether science itself is about to end or even to wane, but whether people will stop claiming that science knows nature as it is. Science, it suggests, may know nature only as the scientist sees it. Or the title suggests that, in knowing nature, scientists to some extent create nature. No one bothers to ask philosophers or theologians, poets, or politicians, workers or bosses whether they know the world as it is. It is common knowledge that the world for which they speak has been affected already by their description of that world. Will not the same fate strike scientists now? Has it not already? This is the basic issue that the six distinguished contributors address. They include Sandra Harding, Sheldon Lee Glashow, Ian Hacking, Mary Hesse, Gerald Holton, and Gunther S. Stent. Co-published with the Nobel Conference.

This book offers a unique analysis of how ideas about science and technology in the public and scientific imaginations (in particular about maths, logic, the gene, the brain, god, and robots) perpetuate the false reality that values and politics are separate from scientific knowledge and its applications. These ideas are reinforced by cultural myths about free will and individualism. Restivo makes a compelling case for a synchronistic approach in the study of these notoriously 'hard' cases, arguing that their significance reaches far beyond the realms of science and technology, and that their sociological and political ramifications are of paramount importance in our global society. This innovative work deals with perennial problems in the social sciences, philosophy, and the history of science and religion, and will be of special interest to professionals in these fields, as well as scholars of science and technology studies.

Jesuit Science and the End of Nature’s Secrets explores how several prominent Jesuit naturalists - including Niccolò Cabeo, Athanasius Kircher, and Gaspar Schott - tackled the problem of occult or insensible causation in the seventeenth century. The search for hidden causes lay at the heart of the early modern study of nature, and included phenomena such as the activity of the magnet, the marvelous powers ascribed to certain animals and plants, and the hidden, destructive forces churning in the depths of the Earth. While this was a project embraced by most early modern naturalists, however, the book demonstrates that the Jesuits were uniquely suited to the study of nature’s hidden secrets because of the complex methods of contemplation and meditation enshrined at the core of their spirituality. Divided into six chapters, the work documents how particular Jesuits sought to reveal and expose nature’s myriad secrets through an innovative blending of technology, imagery, and experiment. Moving beyond the conventional Aristotelianism mandated by the Society of Jesus, they set forth a vision of the world that made manifest the works of God as Creator, no matter how deeply hidden those works were. The book thus not only presents a narrative that challenges present-day assumptions about the role played by Catholic religious communities in the formation of modern science, but also captures the exuberance and inventiveness of the early modern study of nature.

"An intellectual accomplishment that illuminates the magic and the wisdom of the heavens above."—Kirkus Reviews "Tracing our contemplation of the cosmos from the big bang to the big crunch" (The New Yorker), Marcelo Gleiser explores the shared quest of ancient prophets and today's astronomers to explain the strange phenomena of our skies—from the apocalypse foretold in Revelations to modern science's ongoing identification of multiple cataclysmic threats, including the impact of comets and asteroids on earthly life, the likelihood of future collisions, the meaning of solar eclipses and the death of stars, the implications of black holes for time travel, and the ultimate fate of the universe and time. Presenting insights to cosmological science and apocalyptic philosophy in an "easily accessible" (Library Journal) style, Gleiser is "a rare astrophysicist as comfortable quoting Scripture as explaining formulas" (Booklist). K. C. Cole praises his ability to "[work] the entwined threads of science and religion into a vision of 'the end' that is strangely comforting and inspiring."

A dazzling look at the artists working on the frontiers of science. In recent decades, an exciting new art movement has emerged in which artists utilize and illuminate the latest advances in science. Some of their provocative creations—a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang (pictured on the cover)—can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google’s Creative Lab, and the MIT Media Lab. In Colliding Worlds, Arthur I. Miller takes readers on a wild journey to explore this new frontier. Miller, the author of Einstein, Picasso and other celebrated books on science and creativity, traces the movement from its seeds a century ago—when Einstein’s theory of relativity helped shape the thinking of the Cubists—to its flowering today. Through interviews with innovative thinkers and artists across disciplines, Miller shows with verve and clarity how discoveries in biotechnology, cosmology, quantum physics, and beyond are animating the work of designers like Neri Oxman, musicians like David Toop, and the artists-in-residence at CERN’s Large Hadron Collider. From NanoArt to Big Data, Miller reveals the extraordinary possibilities when art and science collide.