The black box is orange—and there are actually two of them. They house the cockpit voice recorder and the flight data recorder, instruments vital to airplane crash analyses. But accident investigators cannot rely on the black boxes alone. Beginning with the 1931 Fokker F-10A crash that killed legendary football coach Knute Rockne, this fascinating book provides a behind-the-scenes look at plane wreck investigations. Professor George Bibel shows how forensic experts, scientists, and engineers analyze factors like impact, debris, loading, fire patterns, metallurgy, fracture, crash testing, and human tolerances to determine why planes fall from the sky—and how the information gleaned from accident reconstruction is incorporated into aircraft design and operation to keep commercial aviation as safe as possible.

The black box is orange—and there are actually two of them. They house the cockpit voice recorder and the flight data recorder, instruments vital to airplane crash analyses. But accident investigators cannot rely on the black boxes alone. Beginning with the 1931 Fokker F-10A crash that killed legendary football coach Knute Rockne, this fascinating book provides a behind-the-scenes look at plane wreck investigations. Professor George Bibel shows how forensic experts, scientists, and engineers analyze factors like impact, debris, loading, fire patterns, metallurgy, fracture, crash testing, and human tolerances to determine why planes fall from the sky—and how the information gleaned from accident reconstruction is incorporated into aircraft design and operation to keep commercial aviation as safe as possible.

Offers practical advice on using and improving assessment for learning in the classroom.

Every day, corporations are connecting the dots about our personal behavior—silently scrutinizing clues left behind by our work habits and Internet use. The data compiled and portraits created are incredibly detailed, to the point of being invasive. But who connects the dots about what firms are doing with this information? The Black Box Society argues that we all need to be able to do so—and to set limits on how big data affects our lives. Hidden algorithms can make (or ruin) reputations, decide the destiny of entrepreneurs, or even devastate an entire economy. Shrouded in secrecy and complexity, decisions at major Silicon Valley and Wall Street firms were long assumed to be neutral and technical. But leaks, whistleblowers, and legal disputes have shed new light on automated judgment. Self-serving and reckless behavior is surprisingly common, and easy to hide in code protected by legal and real secrecy. Even after billions of dollars of fines have been levied, underfunded regulators may have only scratched the surface of this troubling behavior. Frank Pasquale exposes how powerful interests abuse secrecy for profit and explains ways to rein them in. Demanding transparency is only the first step. An intelligible society would assure that key decisions of its most important firms are fair, nondiscriminatory, and open to criticism. Silicon Valley and Wall Street need to accept as much accountability as they impose on others.

WHEN DORA, ELENA’S older sister, is diagnosed with depression and has to be admitted to the hospital, Elena can’t seem to make sense of their lives anymore. At school, the only people who acknowledge Elena are Dora’s friends and Jimmy Zenk—who failed at least one grade and wears blackevery day of the week. And at home, Elena’s parents keep arguing with each other. Elena will do anything to help her sister get better and get their lives back to normal—even when the responsibility becomes too much to bear.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.