Along the way he provides an engaging and witty commentary while introducing the lay reader to both classic and cutting-edge concepts in physics, including:What Superman's strength can tell us about the Newtonian physics of force, mass, and accelerationHow Iceman's and Storm's powers illustrate the principles of thermal dynamicsThe physics behind the death of Spider-Man's girlfriend Gwen StacyWhy physics professors gone bad are the most dangerous evil geniuses!

    Now Lawrence M. Krauss, an internationally known theoretical physicist and educator, has written the quintessential physics book for Trekkers and non-Trekkers alike.Anyone who has ever wondered, "Could this really happen?" will gain useful insights into the "Star Trek" universe (and, incidentally, the real universe) in this charming and accessible volume. Krauss boldly goes where "Star Trek" has gone -- and beyond. He uses the "Star Trek" future as a launching pad to discuss the forefront of modern physics. From Newton to Hawking, from Einstein to Feynman, from Kirk to Janeway, Krauss leads the reader on a voyage to the world of physics as we now know it and as it might one day be.Featuring the Top 10 biggest physics bloopers in "Star Trek," as selected by Nobel Prize-winning physicists and other dedicated Trekkers!"This book is fun, and Mr. Krauss has a nice touch with a tough subject...Readers drawn by frivolity will be treated to substance." "--New York Times Book Review""Today's science fiction is often tomorrow's science fact. The physics that underlies "Star Trek" is surely worth investigating. To confine our attention to terrestrial matters would be to limit the human spirit."--Stephen Hawking (in the foreword)A

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    Having no permanent bonds, the denizen of our liquid modern society must tie whatever bonds they can to engage with others, using their own wits, skill and dedication. But none of these bonds are guaranteed to last. Moreover, they must be tied loosely so that they can be untied again, quickly and as effortlessly as possible, when circumstances change - as they surely will in our liquid modern society, over and over again. The uncanny frailty of human bonds, the feeling of insecurity that frailty inspires, and the conflicting desires to tighten the bonds yet keep them loose, are the principal themes of this important new book by Zygmunt Bauman, one of the most original and influential social thinkers of our time. It will be of great interest to students and scholars in sociology and in the social sciences and humanities generally, and it will appeal to anyone interested in the changing nature of human relationships.

    In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography." - wikipedia

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    It has found adherents in Silicon Valley billionaires Ray Kurzweil and Peter Diamandis. Google has entered the picture, establishing a bio-tech subsidiary aimed at solving the problem of aging.In To Be a Machine, journalist Mark O'Connell takes a headlong dive into this burgeoning movement. He travels to the laboratories, conferences, and basements of today's foremost transhumanists, where he's presented with the staggering possibilities and moral quandaries of new technologies like mind uploading, artificial superintelligence, cryonics, and device implants.A contributor to Slate, The New Yorker, and The New York Times Magazine, O'Connell serves as a sharp and lively guide to the outer limits of technology in the twenty first century. In investigating what it means to be a machine, he offers a surprising, singular meditation on what it means to be human."

    Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.

    Our aim will be to show why instruction which fails to quicken activity, why knowledge which enfeebles activity, why history as a costly intellectual excess and luxury must, in the spirit of Goethe’s words, be seriously hated; for we still lack what is most necessary, and superfluous excess is the enemy of the necessary. Certainly we need history. But our need for history is quite different from that of the spoiled idler in the garden of knowledge, even if he in his refinement looks down on our rude and graceless requirements and needs. That is, we require history for life and action, not for the smug avoiding of life and action, or even to whitewash a selfish life and cowardly, bad acts. Only so far as history serves life will we serve it: but there is a degree of doing history and an estimation of it which brings with it a withering and degenerating of life: a phenomenon which is now as necessary as it may be painful to bring to consciousness through some remarkable symptoms of our age."

    Its problems are inherent in the technology itself and are so dangerous -- to personal health and sanity, to the environment, and to democratic processes -- that TV ought to be eliminated forever.Weaving personal experiences through meticulous research, the author ranges widely over aspects of television that have rarely been examined and never before joined together, allowing an entirely new, frightening image to emerge. The idea that all technologies are "neutral," benign instruments that can be used well or badly, is thrown open to profound doubt. Speaking of TV reform is, in the words of the author, "as absurd as speaking of the reform of a technology such as guns."

    Historically, the humanities have been central to education because they have rightly been seen as essential for creating competent democratic citizens. But recently, Nussbaum argues, thinking about the aims of education has gone disturbingly awry both in the United States and abroad. Anxiously focused on national economic growth, we increasingly treat education as though its primary goal were to teach students to be economically productive rather than to think critically and become knowledgeable and empathetic citizens. This shortsighted focus on profitable skills has eroded our ability to criticize authority, reduced our sympathy with the marginalized and different, and damaged our competence to deal with complex global problems. And the loss of these basic capacities jeopardizes the health of democracies and the hope of a decent world. In response to this dire situation, Nussbaum argues that we must resist efforts to reduce education to a tool of the gross national product. Rather, we must work to reconnect education to the humanities in order to give students the capacity to be true democratic citizens of their countries and the world. Drawing on the stories of troubling--and hopeful--educational developments from around the world, Nussbaum offers a manifesto that should be a rallying cry for anyone who cares about the deepest purposes of education.

    Zicree's account of the series from inception to cancellation, through syndications and sunbsequent offshoots and remakes, is fascinating reading for even the mosts casual fan. Coverage of each episode includes a plot synopsis, Rod Serling's narrations, critical commentary, behind-the-scenes stories and anecdotes from the original artist who created the series, a complete list of cast and credits, and over 200 production photographs.This second edition also has an addendum covering the Twilight Zone movie and the CBS program from the 1980s.

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    Ten Illustrated Essays About Scrubs

    What is the value of history? What is the use of history? How do scholars attempt to unpack it and make connections in a responsible manner? While the topics of historiography and historical methodology have become increasingly popular, Bloch remains an authority. He argues that history is a whole; no period and no topic can be understood except in relation to other periods and topics. And what is unique about Bloch is that he puts his theories into practice; for example, calling upon both his experience serving in WWI as well as his many years spent in peaceful study and reflection. He also argues that written records are not enough; a historian must draw upon maps, place-names, ancient tools, aerial surveys, folklore, and everything that is available. This is a work that argues constantly for a wider, more human history. For a history that describes how and why people live and work together. There is a living, breathing connection between the past and the present and it is the historian’s responsibility to do it justice.