Rational Mechanics

This book presents various computer-aided drug discovery methods for the design and development of ligand and structure-based drug molecules. A wide variety of computational approaches are now being used in various stages of drug discovery and development, as well as in clinical studies. Yet, despite the rapid advances in computer software and hardware, combined with the exponential growth in the available biological information, there are many challenges that still need to be addressed, as this book shows.

This book is one of the finest I have ever read. To write a foreword for it is an honor, difficult to accept. Everyone knows that architects and master masons, long before there were mathematical theories, erected structures of astonishing originality, strength, and beauty. Many of these still stand. Were it not for our now acid atmosphere, we could expect them to stand for centuries more. We admire early architects' visible success in the distribution and balance of thrusts, and we presume that master masons had rules, perhaps held secret, that enabled them to turn architects' bold designs into reality. Everyone knows that rational theories of strength and elasticity, created centuries later, were influenced by the wondrous buildings that men of the sixteenth, seventeenth, and eighteenth centuries saw daily.

John Horgan, author of the best-selling The End of Science, chronicles the most advanced research into the mechanics—and meaning—of mystical experiences. How do trances, visions, prayer, satori, and other mystical experiences “work”? What induces and defines them? Is there a scientific explanation for religious mysteries and transcendent meditation?

Nature appears to be composed of two completely different kinds of things: rocklike things and idealike things. The first is epitomized by an enduring rock, the second by a fleeting thought. A rock can be experienced by many of us together, while a thought seems to belong to one of us alone. Thoughts and rocks are intertwined in the unfolding of nature, as Michelangelo's David so eloquently attests.