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Predicts events that will occur in the near and distant future, including "In the next three months, 1,000 households in Zimbabwe will be hooked up to solar electricity."
THE PROPULSIVE NEW YORK TIMES BESTSELLER, NOW A MAJOR MOTION PICTURE STARRING JOEL KINNAMAN, ROSAMUND PIKE, AND COMMON ONE MURDER. Piet Hoffmann is the Swedish police force's best undercover operative. Not even his family know of his double identity. But when a drug deal with the Polish mafia goes fatally wrong, his secret life begins to crumble around him. TWO MEN. Detective Inspector Ewert Grens is assigned to investigate the drug-related killing. Unaware of Hoffmann's true identity, he believes himself to be on the trail of a dangerous psychopath. THREE SECONDS. Hoffmann must desperately maintain his cover, or else he is a dead man walking. But in the doggedly perceptive Ewert Grens, he has just made the most relentless of enemies.
Just three seconds. The time it takes to make a decision. That's all that lies between settling for "Whatever" . . . or insisting on "Whatever it takes." 3 Seconds shows how to unleash the inner resources that can move you to a whole new level of success. It comes down to six predictable impulses that most of us automatically accept without a second thought. You can replace them with new impulses that lead toward impact and significance. For instance, it takes Three Seconds to . . . Disown Your Helplessness - The First Impulse: "There's nothing I can do about it." The Second Impulse: "I can't do everything, but I can do something." Quit Stewing and Start Doing - The First Impulse: "Someday I’m going to do that." The Second Impulse: "I'm diving in . . . starting today." Fuel Your Passion - The First Impulse: "I'll do what happens to come my way." The Second Impulse: "I'll do what I'm designed to do." Inhale . . . exhale . . . the difference of your lifetime can begin in the space of a single breath. The decision is yours. Start today.
One. Two. Three. That’s as long as it took to sear the souls of a dozen young American men, thanks to the craziest, most controversial finish in the history of the Olympics—the 1972 gold-medal basketball contest between the United States of America and the Union of Soviet Socialist Republics, the world’s two superpowers at the time. The U.S. team, whose unbeaten Olympic streak dated back to when Adolf Hitler reigned over the Berlin Games, believed it had won the gold medal that September in Munich—not once, but twice. But it was the third time the final seconds were played that counted. What happened? The head of international basketball—flouting rules he himself had created—trotted onto the court and demanded twice that time be put back on the clock. A referee allowed an illegal substitution and an illegal free-throw shooter for the Soviets while calling a slew of late fouls on the U.S. players. The American players became the only Olympic athletes in the history of the games to refuse their medals. Of course, the 1972 Olympics are remembered primarily for a far graver matter, when eleven Israeli team members were killed by Palestinian terrorists, stunning the world and temporarily stopping the games. One American player, Tommy Burleson, had a gun to his head as the hostages were marched past him before their deaths. Through interviews with many of the American players and others, the author relates the horror of terrorism, the pain of losing the most controversial championship game in sports history to a hated rival, and the consequences of the players’ decision to shun their Olympic medals to this day.
Between Couch and Piano links well-established psychoanalytic ideas with historical and neurological theory to help us begin to understand from a psychoanalytic perspective some of the reasons behind music's ubiquity and power.
"As familiar and widely appreciated works of modern technology, bridges are a good place to study the relationship between the aesthetic and the technical. Fully engaged technical design is at once aesthetic and structural. In the best work (the best design, the most well made), the look and feel of a device (its aesthetic, perceptual interface) is as important a part of the design problem as its mechanism (the interface of parts and systems). We have no idea how to make something that is merely efficient, a rational instrument blindly indifferent to how it appears. No engineer can design such a thing and none has ever been built."—from Artifice and Design In an intriguing book about the aesthetics of technological objects and the relationship between technical and artistic accomplishment, Barry Allen develops the philosophical implications of a series of interrelated concepts-knowledge, artifact, design, tool, art, and technology-and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of Artifice and Design in Allen's discussion of seven bridges: he focuses at length on two New York bridges—the Hell Gate Bridge and the Bayonne Bridge—and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in Artifice and Design are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality. "By segregating art and technology," Allen writes, "we divide ourselves against ourselves, casting up self-made obstacles to the ingenuity of art and technology."