The governance of emerging technologies does not follow a single governance paradigm because of complex interactions between government, industry, and civil actors. In this Element, we will argue that for emerging technologies, governance is a 'convergent paradigm'. We introduce governance issues associated with emerging technologies generally before turning to the specifics of nanotechnology. We then approach governance theory and practice by considering different perspectives on governance by their different orientations with respect to object and process. Finally, we construct a matrix of object and process oriented governance activities observed in the case of nanotechnology in the United States.
1: Now it came to pass, when men began to multiply on the face of the earth, and daughters were born to them, 2: that the sons of God saw the daughters of men, that they were beautiful; and they took wives for themselves of all whom they chose. 3: And the LORD said, "My Spirit shall not strive with man forever, for he is indeed flesh; yet his days shall be one hundred and twenty years." 4: There were giants on the earth in those days, and also afterward, when the sons of God came in to the daughters of men and they bore children to them. Those were the mighty men who were of old, men of renown. (Genesis 6: 1-4 NKJV) 13: "I saw in the visions of my head while on my bed, and there was a watcher, a holy one, coming down from heaven." (Daniel 4:13 NKJV) 17: "This decision is by the decree of the watchers, And the sentence by the word of the holy ones, In order that the living may know That the Most High rules in the kingdom of men, Gives it to whomever He will, And sets over it the lowest of men."(Daniel 4:17 NKJV) What are we to believe when we discover that what we've always thought and believed is so extraordinarily different, it's beyond our wildest imagination? Three unlikely partners become unlikely heroes; Robert, Joshua and Timothy find themselves in just such a plight. In 23rd century Los Angeles, the line that separates science from religion is about to be shattered beyond all time. Join us on a thrill ride solving one mystery after the next, each discovery more astonishing than the previous, when by the power of one courageous young couple's love, mankind's greatest discovery is revealed.
The inaugural actions of the Brazil-United Kingdom Dance Medicine & Science Network (BRUK NET) emerged through the organization of the symposium "The Potentials and Challenges of Research in Dance Medicine & Science: building innovation collaborations between the United Kingdom and Brazil" held in Goiânia, in 2016. In this bilingual Portuguese-English book, 23 leading researchers/authors from the BRUK NET write about their experiences in this field. The idea of the book is to share part of their knowledge and to build paths and theoretical, conceptual and methodological constructs around DMS, from where visibility, access and sustainability could develop. The desire for an interinstitutional, interdisciplinary, collective and supportive cooperation has enabled us to create a book of cross-cutting contexts and diverse views. The demand for DMS services and knowledge is growing. It requires that professionals from different backgrounds; dance, health, education and many others, ethically reflect and debate over the breadth and rigor necessary for the growth and valorization of this field of study.
Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. Isaac Hayes' theme from Shaft. These iconic melodies have remained a part of the pop culture landscape since their debuts back when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made from the mid-1950s and beyond have been propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book begins with Hayes' game-changing music for Shaft, and honors the careers of traditional jazz composers who--as the 1970s gave way to the '80s and beyond--resolutely battled against the pernicious influx of synth, jukebox scores and a growing corporate disinterest in lavish ensembles. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Mort Stevens, Laurie Johnson, Mike Post, Earle Hagen, David Shire, Elmer Bernstein and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). But this is only half the story; the saga's origins are discussed in this book's companion volume, Crime and Action Jazz on Screen: 1950-1970.
Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. John Barry's arrangement of the James Bond theme. These iconic melodies have remained a part of the pop culture landscape since their debuts in the late 1950s and early '60s: a "golden decade" that highlighted an era when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made during this period were propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book traces the embryonic use of jazz in mainstream entertainment from the early 1950s--when conservative viewers still considered this genre "the devil's music"--to its explosive heyday throughout the 1960s. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Jerry Goldsmith, Edwin Astley, Roy Budd, Quincy Jones, Dave Grusin, Jerry Fielding and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). The exploration of action jazz continues in this book's companion volume, Crime and Action Jazz on Screen Since 1971.
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