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Experiment 116 is a creative deformance of Shakespeare’s Sonnet 116 using automatic machine translation. The poems begin in their original Shakespearean English and are then moved to another language, then another, then perhaps a third, and then back to English. In this way, the poem moves, the poem lives; it is reincarnated, reproduced, misunderstood, and mistaken. The essay that concludes the book explores how our practices of reading, writing, and revision can benefit from the use of free online translation tools. Experiment 116 invites readers to imagine translation errors and variants appearing during this process as a bridge between languages, striking unintentional emotional chords and producing creative depictions of life, as potentially codified by multi-lingual readers. In so doing, it enables a fugitive relation to idioms and stages a confrontation with multiple languages that function as the resources by which poets create, through language, cultural bridges. Experiment 116 asks its reader to consider automated algorithmic language translation as a site for the birth of a poetics of a global refugee idiolect.
Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.
In 1524, Pope Clement VII gave two condemned criminals to his physician to test a promising new antidote. After each convict ate a marzipan cake poisoned with deadly aconite, one of them received the antidote, and lived—the other died in agony. In sixteenth-century Europe, this and more than a dozen other accounts of poison trials were committed to writing. Alisha Rankin tells their little-known story. At a time when poison was widely feared, the urgent need for effective cures provoked intense excitement about new drugs. As doctors created, performed, and evaluated poison trials, they devoted careful attention to method, wrote detailed experimental reports, and engaged with the problem of using human subjects for fatal tests. In reconstructing this history, Rankin reveals how the antidote trials generated extensive engagement with “experimental thinking” long before the great experimental boom of the seventeenth century and investigates how competition with lower-class healers spurred on this trend. The Poison Trials sheds welcome and timely light on the intertwined nature of medical innovations, professional rivalries, and political power.
Ever increasing research evidence continues to mount. Having started my research on the connection of the Hydraulis to the roots of the more recent Industrial Revolution at the University of St. Gallen in 1989 over 30 years ago, I continue to identify additional support for it. We do not know whether the beginnings of an Industrial Revolution in Hellenistic Greece would have continued if not cut off by the Roman Empire's conquests. Neither do we know whether the more recent (latent) Industrial Revolution could have risen up again in the 17th-century without Vitruvius or Hero of Alexander's preserved writings. The point of this book is to emphasize with new findings that had the Romans not stopped the growth of science and technology in the Hellenistic Period that it would have likely continued to develop into a full-fledged Industrial Revolution. Secondly, the more recent Industrial Revolution borrowed heavily on the technology and science of the Hellenistic Period. In the true sense of the "Renaissance" 17th-century industrial progress largely picked up the written remnants of Antiquity to be able to continue on after a centuries long caesura.
By using the fresh investigative language of cognitive history, a symbiosis of the methods of cognitive science and historical inquiry, this book departs from almost all previous approaches to Renaissance studies. The Renaissance has attracted the attention of distinguished scholars from many different vantage points – political, social, economic, intellectual, and cultural. In this volume, Subrata Dasgupta sheds an alternative light on the Renaissance by considering it as a creative phenomenon. To be creative is to make history by producing material and/or abstract artifacts that are both new and consequential; to be creative also entails drawing on history and on the culture of the time. Most significantly, the creative process occurs in individual minds: it is a cognitive process of a very special kind. Beginning with a ‘prehistory’ set in classical Greece and medieval Islam, this book explores a variety of inventions and discoveries through the 14th–16th centuries, mainly in Italy, in humanities, painting, architecture, craft technology, anatomy, natural science, and engineering. This book will be of interest not only to Renaissance scholars but also to students interested in Renaissance history and the nature of the creative tradition.
Praise for Second Edition of The Psychedelic Renaissance: 'Onward, intrepid explorer, keep your wits, while allowing them to be tickled, as Dr Sessa leads you into a world of remarkable wonders! You are in for a real treat!' Robin Carhart-Harris 'This new book is a succinct, entertaining overview of the emerging "Psychedelic Renaissance" written by an insider, and one of the brightest young architects of this new emerging paradigm.' Dr Dennis J. McKenna 'With intelligence, fact-based optimism and compassion Sessa throws open the doors of perception and guides the reader through the complexities of the history, pharmacology, legality and potential of these miraculous molecules.' Andy Roberts 'This new edition of Sessa's, The Psychedelic Renaissance, will encourage researchers to work in this field, to the benefit of our understanding of how the brain works and to develop new approaches to psychiatric disorders.' David Nutt 'Dr. Ben Sessa prescribes a way forward; mainstreaming psychedelics for a world in deep need of spirituality and inspiration. The Psychedelic Renaissance is a book that deserves to be widely read.' Rick Doblin 'Ben Sessa's energetic review of the research and cultural use of psychedelics provides a unique perspective. The way forward is clear: we urgently need more scientific research, and a rational reform of drug policies.' Amanda Feilding 'The Psychedelic Renaissance will inevitably and rightly be seen as an important marker of their assimilation into the cultural mainstream. I highly recommend it.' Ralph Metzner 'Dr. Sessa skilfully chronicles important developments, perhaps a turning point, in psychiatry and in the understanding of psychedelics in the wider culture. This new updated edition of The Psychedelic Renaissance is informative, entertaining and timely.' Michael Mithoefer
An introduction to science and medicine during the earlier phrases of the scientific revolution.
Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory. This is the first discussion of its kind, involving not only questions within Renaissance scholarship, but issues of concern to art historians and critics in all fields. Organized as a virtual roundtable discussion, the contributors discuss rifts and disagreements about how to understand the Renaissance and debate the principal texts and authors of the last thirty years who have sought to reconceptualize the period. They then turn to the issue of the relation between modern art and the Renaissance: Why do modern art historians and critics so seldom refer to the Renaissance? Is the Renaissance our indispensable heritage, or are we cut off from it by the revolution of modernism? The volume includes an introduction by Rebecca Zorach and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on Renaissance art including Stephen Campbell, Michael Cole, Frederika Jakobs, Claire Farago, and Matt Kavaler.