Huang Ruo's career wasn't his to choose. His fortune-teller grandfather and composer father did that for him, and at the age of 12 he was bundled off to a distant music conservatory in Shanghai as his mother wept. Sad as that may sound, it all worked out remarkably well. Huang Ruo's path eventually took him from China to the U.S., to Oberlin and Julliard, and today it's hard to imagine him as anything other than the prolific and exuberant composer he's become.

His work draws on all the music he heard growing up in China and in the years since – from ancient ritual chants and folk songs to classical, rock and pop (both Chinese and western) – to create something that feels integral, vibrant and new. He's also a wonderful singer, as you'll hear in this very musical interview.

I met Huang Ruo when he was in town for the Cabrillo Festival of Contemporary Music, and getting to know him and his work was a highlight of the festival for me. Here are some of the things we talked about as we listened to a selection of his incredibly varied music.

People suffering from Cotard's Syndrome think they're dead. Victims of body integrity identity disorder believe their own limbs don't belong to them, and schizophrenics feel their thoughts aren't their own. By chipping away at our sense of a unified, stable self, these and other mental conditions hint at how selfhood might be assembled in the first place. What exactly is a self, anyway? Is it the product of specific neural mechanisms, or perhaps a psych-social construct? Does it ever go entirely away? Science writer Anil Ananthaswamy examines the evidence from neuroscience along with theories of the self from psychology, philosophy and spiritual traditions such as Buddhism, in his new book "The Man Who Wasn't There: Investigations into the Strange New Science of the Self."

TThe Cabrillo Festival of Contemporary Music brings together some of the best and brightest composers working today. I spoke to three from this year's lineup as we listened to some of their pieces. Harpist/composer Hannah Lash confided her love of tuned percussion and hidden structure. Missy Mazzoli discussed her "River Rouge Transfiguration" – inspired by the iconic Ford auto plant–and "Vespers for a New Dark Age": secular music with sacred sources. Nico Muhly reflected on cartoon travelogues and Disneyfied gamelan in his piece "Wish You Were Here" and his "technical exercise with a heart of gold," "Étude #3" featuring violist Nadia Sirota.

Viewers of Joshua Oppenheimer's jaw-dropping documentary "The Act of Killing," about the men who conducted Indonesia's genocidal anti-communist purges in 1965, might well have concluded that it was an impossible act to follow. Yet its sequel is, if anything, even more accomplished and affecting.Joshua and I talked about the making of the movie, its visual and sonic poetry, how violence distorts the psyche, the possibility of reconciliation, and the resolve that kept him working during years of difficult filmmaking. Josh is uncommonly thoughtful and eloquent on these questions, and this interview is well worth a listen whether you've seen his films or not.

I used to think that the Civil War ended at Appomattox. But the next 150 years of conflict – including the events of recent months – make it clear how naive I was. Yale historian David Blight explains how the nation dropped the ball when it abandoned Reconstruction and set about reconstructing history itself, embracing some convenient myths and turning its back on civil rights and African Americans. In the second part of the show, Pulitzer prizewinner Tony Horwitz reflects on confederate nostalgia, the Lost Cause tradition and "How the South Lost the War but Won the Narrative."

The recent case of Rachel Dolezal – the “black” activist outed as white – may have seemed novel, but she's actually part of an old tradition of racial passing in this country. How long has passing been going on and how has it changed over the years? What's it tell us about racial categories and color lines? Why are we so fascinated with passing stories? I spoke with historian Allyson Hobbs about her book A Chosen Exile: A History of Racial Passing in American Life.

Sara Solovitch grew up playing classical piano, a dedicated student and aspiring performer. But she quit at 19, undone by chronic jitters. Thirty years later, she decided to face her old fears, start over and brave the concert stage again. She tells the story in her new book, "Playing Scared: A History and Memoir of Stage Fright." Sara and I discussed the psychology of stage fright, its sufferers and treatments, how perfectionism and pressure set us up for failure, and the culture of classical performance.

Astronomer Robert Kirshner is an expert in supernovae – those spectacular exploding stars that can outshine a galaxy. It's a specialty he chanced on in grad school, and his timing was perfect. The field was really taking off, and it was supernovae that would lead to the biggest cosmological surprise of the last 20 years: the revelation that mysterious "dark energy" os pushing the universe apart at faster and faster rates. Bob and I talked about his career, the discovery of dark energy and what it might mean for the future of the cosmos.

A century before the first electronic computers, there was the Analytical Engine, a giant, coal-powered mechanical brain. Sounds like a steampunk fantasy, but it was the real deal: a general-purpose computer capable not only of number-crunching but also logical operations. Not even its inventor, the brilliant and eccentric Victorian-era mathematician Charles Babbage, grasped its full potential. It was his friend and fellow visionary Ada Lovelace, daughter of Lord Byron, who had that critical insight.

Alas, though worked out in painstaking detail by Babbage, the Analytical Engine was never built. But now it's been drawn – at least parts of it – by the illustrator and animator Sydney Padua. Sydney's new book, "The Thrilling Adventures of Lovelace and Babbage: The (Mostly) True Story of the First Computer," mixes comics, explanatory footnotes, historical documentation and some wonderful cartoon diagrams. It's a funny and absorbing portrait of one of history's great intellectual partnerships – and the magnificent machine that brought them together.

We know life is made of molecules, but how did those molecules come together in the first place? Was it more than a series of rare and highly improbable coincidences--the parts just falling into place? MIT biophysicist Jeremy England thinks so. He says that under the right circumstances, which aren't rare at all, matter tends naturally toward greater organization, complex structures and adaptive behavior, making life a likely, even inevitable result of physics. His theory of pre-biological evolution provides a much-needed complement to Darwinian biological evolution.