The history of the CCR5 gene as a lens through which to view such issues as intellectual property, Big Pharma, personalized medicine, and race and genomics. In The Genealogy of a Gene , Myles Jackson uses the story of the CCR5 gene to investigate the interrelationships among science, technology, and society. Mapping the varied “genealogy” of CCR5—intellectual property, natural selection, Big and Small Pharma, human diversity studies, personalized medicine, ancestry studies, and race and genomics—Jackson links a myriad of diverse topics. The history of CCR5 from the 1990s to the present offers a vivid illustration of how intellectual property law has changed the conduct and content of scientific knowledge, and the social, political, and ethical implications of such a transformation. The CCR5 gene began as a small sequence of DNA, became a patented product of a corporation, and then, when it was found to be an AIDS virus co-receptor with a key role in the immune system, it became part of the biomedical research world—and a potential moneymaker for the pharmaceutical industry. When it was further discovered that a mutation of the gene found in certain populations conferred near-immunity to the AIDS virus, questions about race and genetics arose. Jackson describes these developments in the context of larger issues, including the rise of “biocapitalism,” the patentability of products of nature, the difference between U.S. and European patenting approaches, and the relevance of race and ethnicity to medical research.

Historically, music was long classified as both art and science. Aspects of music—from the mathematics of tuning to the music of the celestial spheres—were primarily studied as science until the seventeenth century. In the nineteenth century, although scientists were less interested in the music of the spheres than the natural philosophers of earlier centuries, they remained committed to understanding the world of performing musicians and their instruments. In Harmonious Triads , Myles Jackson analyzes the relationship of physicists, musicians, and instrument makers in nineteenth-century Germany. Musical instruments provided physicists with experimental systems, and physicists' research led directly to improvements in musical-instrument manufacture and assisted musicians in their performances. Music also provided scientists with a cultural resource, which forged acquaintances and future collaborations. Jackson discusses experiments in acoustical vibrations that led to the invention of musical instruments and describes work with adiabatic phenomena that resulted in the improvement of the reed pipe, used by organ builders. He examines the collaborations of physicists and mechanicians aimed at standardizing beat and pitch and considers debates stirred by the standardization of aesthetic qualities. He describes the importance for scientists of choral societies as a vehicle for social life and cultural unity. Finally, he discusses a subject that occupied both physicists and musicians of the era: Could physicists, using the universal principles of mechanics, explain musical skill? Was the virtuosity of a Paganini or a Liszt somehow quantifiable? Jackson's historical consideration of questions at the intersection of music and physics shows us how each discipline helped shape the other.