Professors Barry Strauss, Peter Katzenstein and Matthew Evangelista discuss the implications of the Sept. 11, 2001, attacks at a roundtable discussion, sponsored by the Peace Studies Program. (Sept. 12, 2008)
By taking a series of near-atomic resolution snapshots, Cornell and Harvard Medical School scientists have observed step-by-step how bacteria defend against foreign invaders.
Unrelated people who are more similar genetically tend to have more similar attitudes and preferences, reports a new study in the Proceedings of the National Academy of Sciences. (May 30, 2012)
A partnership between the library, CIT and the Lab of Ornithology seeks to save information across Cornell that is stored on orphaned media and in danger of decay and loss.
Students will show off digital technology research projects at the annual BOOM (Bits On Our Minds) showcase, at the Duffield Hall Atrium on March 9 from 4 to 6 p.m. (Feb. 24, 2011)
Representatives from various California digital arts and film production companies, including DreamWorks, will meet with representatives of the College of Architecture, Art and Planning this weekend to discuss the merits of a new academic program on digital arts.
Introduction by Cornell President Hunter Rawlings and Kord. -- 2 p.m.: "The Psychoanalytic Construction of Creativity" by Donald Kuspit, A. D. White Professor at Large at Cornell and professor of art history and philosophy at the State University of New York at Stony Brook. Kuspit, one of America's most distinguished art critics, is a winner of the prestigious Frank Jewett Mather Award for Distinction in Art Criticism (1983) given by the College Art Association. He is a contributing editor at Artforum, Sculpture and New Art Examiner and is editor of Art Criticism. Kuspit, who has studied at the Psychoanalytic Institute of the New York University Medical Center, is author of Signs of Psyche in Modern and Postmodern Art (1994), Health and Happiness in Twentieth Century Avant-Garde Art (with Lynn Gamwell; Cornell University Press, 1996) and Idiosyncratic Identities: Artists at the End of the Avant-Garde (1996).