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This volume presents a comprehensive analysis of global future scenarios and their impact on a growing, shared culture. Ever since the end of the Cold War, a diverse range of future concepts has emerged in various areas of academia—and even in popular journalism. A number of these key concepts—‘the end of history,’ ‘the clash of civilizations,’ ‘the coming anarchy,’ ‘the world is flat,’ ‘soft power,’ ‘the post-American century’—suggest what could become characteristic of this new, interconnected world. Ulf Hannerz scrutinizes these ideas, considers their legacy, and suggests further dialogue between authors of the ‘American scenario’ and commentators elsewhere.
During the middle and late 1960s, concern about the way the world might be going began to move out of the arena of academic debate amongst specialists, and became a topic of almost everyday interest to millions of people. Concern about mankind's disruption of the natural balance of 'the environment' brought the term 'ecology' into widespread use, though not always with the meaning to be found in the dictionary, and fears that world population might be growing so rapidly that very soon we would run out of food, resulting in mass starvation and a disastrous collapse of civilisation, helped to make books such as The Limits to Growth best sellers in the early 1970s. Today, quite rightly, decisions on long-term policy with widespread repercussions - most notably, those concerning nuclear energy planning - are a subject of equally widespread public discussion. But all too often such debate focuses on specific issues without the prob lems ever being related effectively to an overall vision of where the world is going and how it is going to get there. At the Science Policy Res~arch Unit, University of Sussex, a group working on studies of social and tech nological alternatives for the future has been contributing to 'the futures debate' for several years, cautiously (perhaps, in a sense, almost too cautiously!) developing a secure foundation for forecasting the way the world may develop.
Learn to draw space creatures, mutant aliens, future soldiers, and more.
What are the possible future worlds of social science? How do these prospects compare with recent conclusions that social science “is generally a non-factor in policy debates and irrelevant to the lives of a host of real-world people,” as a well-known sociologist reported in the centennial volume of the American Sociological Association? This substantial study covers history, art and aesthetics, identity and the self, in seeking an answer to the question of ‘Future Worlds’.
The common discourses about predicting the future chiefly revolve around the day, such as in predicting the weather (or, for more lucrative career opportunities, day-trading) or the week, as in the Sunday edition of many dailies (mostly in the editorials, sometimes in the astrology column!). Rarely we consider it for months or years, which are cases we consider while buying large value properties or consumer goods, or for relationships of great import. Predicting anything longer is rarer. However, many individual thinkers of the past and schools of thoughts tried to predict future in longer time scales. There were many works of fiction which painted pictures of the future and continues to draw in the curious mind. From the view of personal experience, in the late 90s, we had numerous fiction books in the local library which were about the future world, some distant in the future in the 2100s, while some were more tame, and were focused in 2020s. On the nonfiction end, there were predictions by eminent physicists, such as ones in the book "Physics of the future" by Michio Kaku. However, many of these predictions about the year 2020 among these, have failed, and spectacularly so while they were at it. Part of it were the very nature of these books, which perhaps wanted a generation of youngsters interested in careers of science and technology by painting a very futuristic, shiny and gadget-rich world. Another part was very likely the authors themselves getting in the over-optimist mode, not very surprising given many such advances were possible in the past. Two such examples are the rocket and aircraft technology in the first and middle half of the 20th century, which brought the man first to the air, and then to the moon(!) within seventy years. The second is the technological leap of the integrated circuits, which resulted in computers and smartphones becoming such an enormous part in our lives. Another one is the influence of Big Data and Artificial Intelligence, whose influence is currently skyrocketing, and we are in the era of AI. In this book, I have tried a restrained, scientific approach in predicting the future. For the former, I have tried to avoid being too ambitious, taking into account the slump of various technologies, such as processor speeds and required memory of personal computing devices. It is evident that throughout written history, many of the core principles of society, polity and economics remain the same, and therefore we are not predicting a society without greed, politics without corruption or an economy where money keeps coming and inflation rates go down. In the scientific approach, I have observed skepticism as a core facet, and observation of current world events were observed to incorporate a moderating influence. It is not to say that I haven't let our imaginations run wild a bit, as we put a gamble in the Quantum Mechanics section. In some places it had to be done, as they currently seem to be very promising fields of development, but the progress is in such as nascent stage that their growth curve cannot be realistically set. The year I chose, 2051, is one year where many of the readers will probably can experience themselves firsthand, or through their sons and daughters. We can take a look back and wonder how short-sighted people were in the 2021! Or the projections might be not so far-off, only time can tell! So let's dive in, and hope you enjoy the read, even if it is in the year 2051 itself! Note: The photo on the cover is a stylized representations off a cliff in Meghalaya, India, overlooking the mountains on the other side. The people standing there were digitally erased, leaving behind their shadows. In 30 years, some features will stay, some will be modified.
"[Malmgren] succeeds in formulating a typology of science fiction that will become a standard reference for some years to come." —Choice " . . . the most intelligently organized and effectively argued general study of SF that I have ever read." —Rob Latham, SFRA Review " . . . required reading for its evenhanded overview of so much of the previous critical/theoretical material devoted to science fiction." —American Book Review Worlds Apart provides a comprehensive theoretical model for science fiction by examining the worlds of science fiction and the discourse which inscribes them. Malmgren identifies the basic science fiction types, including alien encounters, alternate societies and worlds, and fantasy, and examines the role of the reader in concretizing and interpreting these science fiction worlds.
This book approaches English instruction through the lens of “fi gured worlds,” which recognizes and spotlights how students are actively engaged in constructing their own school, peer group, extracurricular, and community worlds. Teachers’ ability not only to engage with students’ experiences and interests in and outside of school but also to build connections between students’ worlds and their teaching is essential for promoting student agency, engagement, and meaningful learning. Beach and Caraballo provide an accessible framework for working with students to use critical discourse, narratives, media, genres, and more to support their identity development through addressing topics that are meaningful for them— their families, social issues, virtual worlds, and more. Through extensive activities and examples of students writing about their participation in these worlds, this text allows educators to recognize how students’ experiences in the classroom aff ect and shape their identities and to connect such an understanding to successful classroom practice. With chapters featuring eff ective instructional activities, this book is necessary reading for ELA methods courses and for all English teachers.
Written in hypertext and read from a computer, hypertext novels exist as a collection of textual fragments, which must be pieced together by the reader. The Possible Worlds of Hypertext Fiction offers a new critical theory tailored specifically for this burgeoning genre, providing a much needed body of criticism in a key area of new media fiction.
"What Christ Jesus taught is not what is most important, but rather what he has given humanity. His resurrection is the birth of a new faculty within human nature." -- Rudolf Steiner There are many books on sacramental theology --some of which focus on a specific denomination, while others aspire to rigorous academic objectivity. Some also serve as an introduction to a particular branch of Christianity, and Michael Debus's book serves that purpose well. Nevertheless, the author's integration of theological developments through the centuries with a discussion of the evolution of consciousness makes this book unique. He addresses the fact that anyone looking for a new or renewed relationship to Christian religiosity must come to understand the center of religious cognitive consciousness and practical life --the sacraments. Is baptism merely a symbolic act, or is it a reality that affects one's life? Does a final unction affect a person's future stages of destiny? How should we understand the transformation of bread and wine? What spiritual processes are expressed in "rituals"? The Christian Community --working since 1922 as a conscious movement for religious renewal --offers answers to these and other crucial questions. Michael Debus speaks to readers who wish to understand more deeply the spiritual foundations of The Christian Community and its place in theological history and its role in Christianity today. In Sacramental Theology for a Modern and Future World, Michael Debus makes complex topics and concepts accessible to all who wish to understand the background and sacraments of The Christian Community and the Movement for Christian Renewal. This book is a translation of Auferstehungskräfte im Schicksal: Die Sakramente der Christengemeinschaft (Urachhaus, 2011). Cover Image: Ascension, 45 cm x 45 cm watercolor painting by Ninetta Sombart, used with the kind permission of Raffael Verlag and the artist's family (photograph copyright by Thomas Spalinger).
Drawing as a tool of thought: an investigation of drawing, cognition, and creativity that integrates text and hand-drawn images. Drawing is a way of constructing ideas and observations as much as it is a means of expressing them. When we are not ready or able to put our thoughts into words, we can sometimes put them down in arrangements of lines and marks. Artists, designers, architects, and others draw to generate, explore, and test perceptions and mental models. In Drawing Thought, artist-educator Andrea Kantrowitz invites readers to use drawing to extend and reflect on their own thought processes. She interweaves illuminating hand-drawn images with text, integrating recent findings in cognitive psychology and neuroscience with accounts of her own artistic and teaching practices. The practice of drawing seems to be found across almost all known human cultures, with its past stretching back into the caves of prehistory. It takes advantage of the ways in which human cognition is embodied and situated in relationship to the environments in which we find ourselves. We become more aware of the interplay between our external surroundings and the inner workings of our minds as we draw. We can trace moments of perception and understanding in a sketchbook that might otherwise be lost, and go back to reexamine and revise those traces later. Kantrowitz encourages readers to draw out their own ideas and observations through a series of guided exercises and experiments, with her lively drawings and engaging text pointing the way. Drawing is a tool for thought in anyone’s hands; it is creativity in action.