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Christians have been taught that Jesus died on the cross to pay a fine or ransom to expiate or atone for our sins. Furthermore, they have been taught that the death of Jesus is the only way individuals can receive eternal salvation. In general, this notion is called the "doctrine of blood atonement" or "penal substitution," or some similar name. One reason for this teaching is that the development of Newtonian mechanics has led us to believe that God's "laws of salvation" must be as easy to understand as the seventeenth- and eighteenth-century "laws" of our physical world. This book demonstrates that there are alternatives for understanding Jesus' execution that are consistent with the twentieth- and twenty-first-century understanding of our physical world. In fact, the early Christian writers (including the Bible itself) described these alternatives. "Sacrifice" was only one form of the early Christian narrative explaining the death of Jesus. Although "blood atonement" was understandable in ancient Roman culture, it is not understandable in our culture. The inevitable conclusion is that we should abandon "blood atonement" and develop one of the alternative ways of understanding the cosmic significance of Jesus' execution.
Examining how Crane's corporeal aesthetic informs poems written across the span of his career, The Machine That Sings focuses on four texts in which Crane's preoccupation with the body reaches its apoge. Tapper treats Voyages, The Wine Merchant, and Possessions as a triptych of erotic poems in which Crane plays out alternative resolutions to the dialectic between purity and defilement, a conceptual dynamic which Tapper argues is central to both Crane's poetics of difficulty and his representations of homosexual desire. Tapper concentrates on the three sections of The Bridge, most concerned with recuperating animality: 'National Winter Garden,' 'The Dance,' and 'Cape Hatteras.'
Jason Ryberg is the author of fourteen books of poetry, six screenplays, a few short stories, several angry letters to various magazine and newspaper editors, and a box full of folders, notebooks and scraps of paper that could one day be (loosely) construed as a novel. He is currently an artist-in-residence at both The Prospero Institute of Disquieted P/o/e/t/i/c/s and the Osage Arts Community. He lives part-time in Kansas City with a rooster named Little Red and a billygoat named Giuseppe and part- time somewhere in the Ozarks, near the Gasconade River, where there are also many strange and wonderful woodland critters.
Alfred North Whitehead once said, “the safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato.” It’s hard to overstate Plato’s influence on the West’s philosophical heritage and its civilization. As the first philosopher whose works survived to the present day, his writings and ideas are often characterized as the starting point of Western philosophy. Nor was his influence confined to the modern form of philosophy—Plato also affected political, religious, and spiritual thinkers, including early Christian theologians. Plato’s works are written as dramatic dialogues. His focus is often on following the argument itself—the “dialectic”—rather than working toward a specific conclusion. His mentor, Socrates, is frequently the principal speaker, but scholars still debate whether Plato was expressing Socrates’ views or merely using Socrates as a mouthpiece for his own ideas. In general, there are forty-five major works attributed to Plato, and all but one are dialogues. Modern scholars agree that roughly half of those were definitely written by him, some of those are definitely forgeries, and the rest they’re still unsure about. In this translation Jowett includes all but one of the works that modern scholars agree are authentic, along with an appendix of selected spurious dialogues. Over time, opinion on which works attributed to Plato were definitely written by him has changed; the only work that modern scholars believe is authentic that Jowett doesn’t include in this collection is “Hippias Major.” This book is part of the Standard Ebooks project, which produces free public domain ebooks.
Methods for more planet-friendly process engineering Our earth is just one big, complex Process Facility with limited air, water, and mineral resources. It responds to a number of process variables—among them, humanity and the environmental effects of our carbon consumption. What can professionals in the Hydrocarbon Process Industry do to retard environmental degradation? Rather than looking to exotic technology for solutions, Process Engineering for a Small Planet details ready-at-hand methods that the process engineer can employ to help combat the environmental crisis. Drawing from the author's professional experience working with petroleum refineries petroleum refineries, petrochemical plants, and natural gas wells, this handbook explains how to operate and retrofit process facilities to: Reuse existing process equipment Save energy Reduce greenhouse gas emissions Expand plant capacity without installing new equipment Reduce corrosion and equipment failures Covering topics from expanding fractionator and compressor capacity and vacuum tower heater expansion to minimizing process water consumption and increasing centrifugal pump capacity, Process Engineering for a Small Planet offers big ideas for saving our small planet.
Protagoras is a dialogue by Plato. The traditional subtitle (which may or may not be Plato's) is "or the Sophists". The main argument is between the elderly Protagoras, a celebrated Sophist, and Socrates. The discussion takes place at the home of Callias, who is host to Protagoras while he is in town, and concerns the nature of Sophists, the unity and the teachability of virtue. A total of twenty-one people are named as present.
A comprehensive, scholarly accessible study, in which the authors draw upon poetry and mythology, art and literature, archaeology and psychology to show how the myth of the goddess has been lost from our formal Judeo-Christian images of the divine. They explain what happened to the goddess, when, and how she was excluded from western culture, and the implications of this loss.
This is the first scholarly exploration of concepts and representations of Artificial Intelligence in ancient Greek and Roman epic, including their reception in later literature and culture. Contributors look at how Hesiod, Homer, Apollonius of Rhodes, Moschus, Ovid and Valerius Flaccus crafted the first literary concepts concerned with automata and the quest for artificial life, as well as technological intervention improving human life. Parts one and two consider, respectively, archaic Greek, and Hellenistic and Roman, epics. Contributors explore the representations of Pandora in Hesiod, and Homeric automata such as Hephaestus' wheeled tripods, the Phaeacian king Alcinous' golden and silver guard dogs, and even the Trojan Horse. Later examples cover Artificial Intelligence and automation (including Talos) in the Argonautica of Apollonius and Valerius Flaccus, and Pygmalion's ivory woman in Ovid's Metamorphoses. Part three underlines how these concepts benefit from analysis of the ekphrasis device, within which they often feature. These chapters investigate the cyborg potential of the epic hero and the literary implications of ancient technology. Moving into contemporary examples, the final chapters consider the reception of ancient literary Artificial Intelligence in contemporary film and literature, such as the Czech science-fiction epic Starvoyage, or Small Cosmic Odyssey by Jan Kr?esadlo (1995) and the British science-fiction novel The Holy Machine by Chris Beckett (2004).