Your Brain Is A Time Machine: The Neuroscience And Physics Of Time

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A leading neuroscientist embarks on a groundbreaking exploration of how time works inside the brain.

In Your Brain Is a Time Machine, brain researcher and best-selling author Dean Buonomano draws on evolutionary biology, physics, and philosophy to present his influential theory of how we tell, and perceive, time. The human brain, he argues, is a complex system that not only tells time but creates it; it constructs our sense of chronological flow and enables “mental time travel”―simulations of future and past events. These functions are essential not only to our daily lives but to the evolution of the human race: without the ability to anticipate the future, mankind would never have crafted tools or invented agriculture. The brain was designed to navigate our continuously changing world by predicting what will happen and when.

Buonomano combines neuroscience expertise with a far-ranging, multidisciplinary approach. With engaging style, he illuminates such concepts as consciousness, spacetime, and relativity while addressing profound questions that have long occupied scientists and philosophers alike: What is time? Is our sense of time’s passage an illusion? Does free will exist, or is the future predetermined? In pursuing the answers, Buonomano reveals as much about the fascinating architecture of the human brain as he does about the intricacies of time itself. This virtuosic work of popular science leads to an astonishing realization: your brain is, at its core, a time machine.

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Typewriters, Bombs, Jellyfish: Essays

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Essays on literature, pop culture, and more from the cult novelist and critic Tom McCarthy

Fifteen brilliant essays written over as many years provide a map of the sensibility and critical intelligence of Tom McCarthy, one of the most original and challenging novelists at work today. Typewriters, Bombs, Jellyfish explores a wide range of subjects, from the weather considered as a form of media, to the paintings of Gerhard Richter and the movies of David Lynch, to Patty Hearst as revolutionary sex goddess, to the still-radical implications of established masterpieces such as Ulysses (how do you write after it?), Tristram Shandy, and the unsung junky genius Alexander Trocchi's darkly beautiful Cain's Book. The longer "Recessional" examines the place of time in writing—how writing makes a new time of its own, a time apart from institutional time—while the startling "Nothing Will Have Taken Place" moves from Mallarmé and Don DeLillo to the ball mastery of Zidane to look at how art, whether that of a poet, novelist, or athlete, destroys given codes of meaning and behavior, returning them to play. Certain points of reference recur with dreamlike insistence—among them the artist Ed Ruscha's Royal Road Test, a photographic documentation of the roadside debris of a Royal typewriter hurled from the window of a traveling car; the great blooms of jellyfish that are filling the oceans and gumming up the machinery of commerce and military domination—and the question throughout is: How can art explode the restraining conventions of so-called realism, whether aesthetic or political, to engage in the active reinvention of the world?