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The Latin language has been the one constant in the cultural history of the West for more than two millennia. It has been the foundation of our education, and has defined the way in which we express our thoughts, our faith, and our knowledge of how the world functions. Indeed, the language has proved far more enduring than its empire in Rome, its use echoing on in the law codes of half the world, in the terminologies of modern science, and until forty years ago, in the liturgy of the Catholic Church. It is the unseen substance that makes us members of the Western world. In his erudite and entertaining "biography," Nicholas Ostler shows how and why (against the odds, through conquest from within and without) Latin survived and thrived even as its creators and other languages failed. Originally the dialect of Rome and its surrounds, Latin supplanted its neighbors to become, by conquest and settlement, the language of all Italy, and then of Western Europe and North Africa. Its cultural creep toward Greek in the East led it to copy and then ally with it in an unprecedented, but invincible combination: Greek theory and Roman practice, delivered through Latin, became the foundation of Western civilization. Christianity, a latecomer, then joined the alliance, and became vital to Latin's survival when the empire collapsed. Spoken Latin re-emerged as a host of new languages, from Portuguese and Spanish in the west to Romanian in the east. But a knowledge of Latin lived on as the common code of European thought, and inspired the founders of Europe's New World in the Americas. E pluribus unum. Illuminating the extravaganza of its past, Nicholas Ostler makes clear that, in a thousand echoes, Latin lives on, ad infinitum.
Ad Infinitum: A Science Fiction Novella about Time, Free Will, and Complexity is a hard science fiction novel that takes place in the near future -- the latter half of the twenty-first century. The story concerns the nature of time and its flow -- past, present, and future -- and whether the arrow of time is real or an illusion. If the flow of time is an illusion and the universe is deterministic, as Einstein's theories of relativity and the consequent "block universe" construct suggest, how does that bear upon the notion of free will? If, on the other hand, time and its arrow are real and fundamental, then the future may be open and human agency may play a central part in how the universe unfolds, especially in our corner of it. The story also introduces "the science of complexity," where everything is seen to influence everything else. This science of complexity has, by the year 2079, become the new paradigm of the scientific endeavor. Accordingly, both the classical theories of relativity and quantum mechanics, as well as other physical sciences, feature heavily in this exciting narrative.
Afrofuturism, a movement that began in the Black community during the early 20th Century as an escape from racial hostility, economic turmoil, and aggressive policing, is enjoying a renaissance witnessed by the record-breaking success of creative projects, including the Oscar-winning Marvel Studios film, Black Panther; Regina King’s Emmy-winning HBO superhero tale, Watchmen; Janelle Monae’s hit album, Dirty Computer; Jordan Peele’s provocative feature Get Out; Octavia Butler’s famed science fiction novel, Kindred; and Beyonce’s visual album Black Is King. Now comes Afrofuturist Tim Fielder’s beautifully written and rendered INFINITUM. In INFINITUM, King Aja Ọba and Queen Lewa are revered across the African continent for their impressive political and military skills. Yet the future of their kingdom is in jeopardy, for the royal couple do not have an heir of their own. When the King kidnaps his son born to a concubine, Obinrin, she curses Ọba with the “gift” of immortality. After enjoying long, wonderful lives both, Queen Lewa and the crown prince die naturally, leaving the ageless bereaved King Ọba heartbroken and alone. Taking advantage of Ọba’s vulnerability, enemy nations rise to power and kill the king – or so they think. King Aja Ọba survives the fatal attack, finally realizing the bitter fruit of Obinrin’s curse. For millennia, the immortal Ọba wanders the earth, mourning his lost subjects and searching for a new kingdom. His journey leads him across time, allowing him to witness the trans-Atlantic slave trade, the New World, and the American Civil Rights Movement. The expansion of global technology brings about intergalactic travel, first contact with an alien species, and conflicts within and ultimately outside the known universe. Thrust into these seminal events, Ọba, now known by many as “John,” faces harrowing decisions that will determine mankind’s physical and spiritual trajectory. In 280 plus stunningly emotional and evocative full-color images, INFINITUM presents a unique cosmic experience, addressing issues of racism, classism, gender inequity, the encroachment of technology and the spiritual cost of war, while exposing the history behind ancient mysteries.
My name is Marten Mann. I work for the Devil, or The Prince of Lies, as you people are so fond of calling him. Yes. You read that last line correctly. I am employed by the Powers of Evil as Acquisitor Ad Infinitum. Catchy, huh? To put it in simpler terms, I am a broker of sorts. You know, the guy who finds out what it is that you want the most. I make it readily available to you for a price. I think we all know just how costly that one thing that you think you need so much can be. Which is why I urge all of my clients to choose wisely.
The bold and boundlessly original debut novel from the Oscar®-winning screenwriter of Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York. LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • “A dyspeptic satire that owes much to Kurt Vonnegut and Thomas Pynchon . . . propelled by Kaufman’s deep imagination, considerable writing ability and bull’s-eye wit."—The Washington Post “An astonishing creation . . . riotously funny . . . an exceptionally good [book].”—The New York Times Book Review • “Kaufman is a master of language . . . a sight to behold.”—NPR NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND MEN’S HEALTH B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he’s convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius. All that’s left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of “likes” and arbitrary denunciations that are simultaneously his bête noire and his raison d’être. A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.
The trilogy as conceived by Axel Vervoordt establishes a perfect balance through the natural time-flow between its three chapters. 'In-finitum', will traverse into the other realm as it reaches into the universe of the unfinished and the infinite.
“Knowledge is power.” “The so-called God, is but merely a little bit stronger Arcanist.” Carrying a bunch of knowledge, Xia Feng crossed over.
This book portrays the introduction of the mathematical sign zero as a major signifying event, both within the writing of numbers and as an emblem of parallel events in other sign systems.