Bruce Thacker never took an art class. He never even took a computer class. His degree is in geology, and he fi rst bought a computer in 1990 to track stock investments. Somewhere in the convoluted melange of his linear history, he owned a contemporary art gallery, invested in stocks and real estate, owned a custom photo lab, and was a professional photographer. “Other things that I’ve never ha...

Tiling models are classical statistical models in which different geometric shapes, the tiles, are packed together such that they cover space completely. In this paper we discuss a class of two-dimensional tiling models in which the tiles are rectangles and isosceles triangles. Some of these models have been solved recently by means of Bethe Ansatz. We discuss the question why only these models...

We formulate and prove (in ZFC) a strong coloring theorem which holds at successors of singular cardinals, and use it to answer several questions concerning Shelah’s principle Pr1(μ, μ+, μ+, cf(μ)) for singular μ.

We exhibit a simplified version of the construction of a field of Morley rank p with a predicate of rank p − 1, extracting the main ideas for the construction from previous papers and refining the arguments. Moreover, an explicit axiomatization is given, and ranks are computed.

Seventeenthand eighteenth-century discussions of the senses are often thought to contain a profound truth: some perceptible properties are secondary qualities, dispositions to produce certain sorts of experiences in perceivers. Any apparent plausibility this has often derives, we argue, from an erroneous picture of perception. The colors are typically held to be one of the clearest examples of ...

When Matthew Blakeslee shapes hamburger patties with his hands, he experiences a vivid bitter taste in his mouth. Esmerelda Jones (a pseudonym) sees blue when she listens to the note C sharp played on the piano; other notes evoke different hues--so much so that the piano keys are actually color-coded, making it easier for her to remember and play musical scales. And when Jeff Coleman looks at p...