Storm from Paradise was first published in 1992. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. "Usefully complicating common sense understandings of history, catastrophe, loss, otherness, and possibility through reflections on contemporary Jewishness, Boyarin draws on Benjamins's famous image of the Angel of History blown into the future by a "storm from paradise" to constantly interrogate and recuperate the past, "without pretending for long that we can recoup its plentitude". The book's seven thoughtful essays are at times deliberately intangible but always worth reading. An important book for the rethinking of the relevance of Jewishness to anthropology and cultural studies." –Religious Studies Review "An essay in the richest sense of that term, inspired by and modeled on Walter Benjamin's essays. Based on varied, diverse, and abundantly cross-disciplinary readings, it moves and builds, questions and interrogates, and ultimately convinces us that the Jewish experience with being the 'other' and, conversely and recently, with 'othering' is indeed relevant to theorists of contemporary culture." –Marianne Hirsch Jonathan Boyarin is the author of Palestine and Jewish History, and co-editor, with Daniel Boyarin, of Jews and Other Differences and Powers of Diaspora.
As Jewish writers, artists, and intellectuals made their way into Western European and Anglo-American cultural centers, they encountered a society obsessed with decadence. An avant-garde movement characterized by self-consciously artificial art and literature, philosophic pessimism, and an interest in nonnormative sexualities, decadence was also a smear, whereby Jews were viewed as the source of social and cultural decline. In The Jewish Decadence, Jonathan Freedman argues that Jewish engagement with decadence played a major role in the emergence of modernism and the making of Jewish culture from the 1870s to the present. The first to tell this sweeping story, Freedman demonstrates the centrality of decadence to the aesthetics of modernity and its inextricability from Jewishness. Freedman recounts a series of diverse and surprising episodes that he insists do not belong solely to the past, but instead reveal that the identification of Jewishness with decadence persists today.
When Darwin returned to Britain from the Beagle voyage in 1836, the most talked-about scientific books were the Bridgewater Treatises. This series of eight books was funded by a bequest of the last Earl of Bridgewater, and they were authored by leading men of science, appointed by the President of the Royal Society, and intended to explore "the power, wisdom, and goodness of God, as manifested in the creation." Securing public attention beyond all expectations, the series gave Darwin's generation a range of approaches to one of the great questions of the age: how to incorporate the newly emerging disciplinary sciences into Britain's overwhelmingly Christian culture. Drawing on a wealth of archival and published sources, including many unexplored by historians, Jonathan R. Topham examines how and to what extent the series contributed to a sense of congruence between Christianity and the sciences in the generation before the infamous Victorian "conflict between science and religion." He does so by drawing on the distinctive insights of book history, using close attention to the production, circulation, and use of the books to open up new perspectives not only on aspects of early Victorian science but also on the whole subject of science and religion. Its innovative focus on practices of authorship, publishing, and reading helps us to understand the everyday considerations and activities through which the religious culture of early Victorian science was fashioned. And in doing so, Reading the Book of Nature powerfully reimagines the world in which a young Charles Darwin learned how to think about the implications of his theory"--
Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user. Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.
A comedy for our times” (The Guardian), Middle England is a piercing and provocative novel about a country in crisis. From the frenzy of the 2012 Olympics to the aftermath of the Brexit referendum, here Jonathan Coe chronicles the story of modern Britain by way of a cast of characters whose world is being upended. There are newlyweds who disagree about the country’s future and, possibly, their relationship; a political commentator who writes impassioned columns about austerity from his lavish town house while his radical teenage daughter undertakes a relentless quest for universal justice; and Benjamin Trotter, who embarks on an apparently doomed new career in middle age, and his father, whose last wish is to vote to leave the European Union. A sequel to The Rotters’ Club and The Closed Circle that stands entirely alone, Middle England is a darkly comic look at our strange new world.
The characters of The Rotters’ Club–Jonathan Coe’s beloved novel of adolescent life in the 1970s–have bartered their innocence for the vengeance of middle age in this incisive portrait of Cool Britannia at the millennium.
More than the Soil focuses on the social, cultural, economic and technological processes that have transformed rural areas of Southeast Asia. The underlying premise is that rural lives and livelihoods in this region have undergone fundamental change. No longer can we assume that rural livelihoods are founded on agriculture; nor can we assume that people envisage their futures in terms of farming. The inter-penetration of the rural and urban, and the degree to which rural people migrate between rural and urban areas, and shift from agriculture to non-agriculture, raises fundamental questions about how we conceptualise the rural Southeast Asia and the households to be found there.
The SimHebrew Bible makes reading, searching, and learning the Hebrew Bible much easier for non-Hebrew readers. SimHebrew is an exact simulation of the fully spelled Hebrew text of the Bible. Readers of the Latin character set who are not versed in the square text will find both ease and pleasure in learning the Bible in its original tongue without any of the difficulties encountered when facing the traditional right-to-left text. The technique gives a true insight into the linguistic features of the Hebrew – in particular, its economy of language, wordplay, repetition of the same word in different contexts, and above all, the root structure of its words. This Bible also allows easy searching in both Hebrew and English including a full glossary and links to a corresponding online concordance. The combination makes both the Hebrew language and the translation decisions in the English guide fully transparent.
A vibrant critical exchange between contemporary art and Christianity is being increasingly prompted by an expanding programme of art installations and commissions for ecclesiastical spaces. Rather than 'religious art' reflecting Christian ideology, current practices frequently initiate projects that question the values and traditions of the host space, or present objects and events that challenge its visual conventions. In the light of these developments, this book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's role within the church? Focusing on concepts drawn from anthropology, comparative religion, art theory, theology and philosophy, this book formulates a lexicon of terms built around the notion of encounter in order to review the effective uses and experience of contemporary art in churches. The author concludes with the prognosis that art for the church has reached a critical and decisive phase in its history, testing the assumption that contemporary art should be a taken-for-granted element of modern church life. Art and the Church: A Fractious Embrace uniquely combines conceptual analysis, critical case studies and practical application in a rigorous and inventive manner, dealing specifically with contemporary art of the past twenty-five years, and the most recent developments in the church's policies for the arts.
An “invaluable” collection of essays revealing the experience of Jewish soldiersand civilians during the Civil War: “Essential and illuminating.” —Harold Holzer, Moment Magazine At least 8,000 Jewish soldiers fought for the Union and Confederacy during the Civil War. A few served together in Jewish companies while most fought alongside Christian comrades. Yet even as they stood “shoulder-to-shoulder” on the battlefield, they encountered unique challenges. In Jews and the Civil War, Jonathan D. Sarna and Adam Mendelsohn assemble for the first time the foremost scholarship on the subject, little known even to specialists in the field. These accessible and far-ranging essays from top scholars are grouped into seven thematic sections—Jews and Slavery; Jews and Abolition; Rabbis and the March to War; Jewish Soldiers during the Civil War; The Home Front; Jews as a Class; and Aftermath—each with an introduction by the editors. Together they reappraise the war’s impact on Jews in the North and the South, offering a rich and fascinating portrait of the experience of Jewish soldiers and civilians from the home front to the front lines.
The concept that art must have no instrumental function is a doctrine traditionally traced back to Kant's Critique of Judgment. In Reconstituting the Body Politic, Jonathan Hess proposes that this concept of autonomous art marks not a withdrawal from the political realm but the ultimate embodiment of Enlightenment political culture, a response to a crisis in the institution idealized by Jurgen Habermas as the bourgeois public sphere. In Reconstituting the Body Politic, Hess explores the moment in late eighteenth-century Germany that witnessed the emergence of two concepts that marked the modern era: the political concept of the public sphere and the doctrine of aesthetic autonomy. By considering the extent to which, at its very inception, the concept of aesthetic autonomy is inextricably intertwined with the emergence of the concept of the public sphere, he offers both a historical study of the political conditions that produced this concept and a contribution to contemporary literary and political theory. Reading texts by Kant alongside the writings of contemporaries like Karl Philipp Moritz, Hess examines a wide variety of eighteenth-century texts, discourses, and institutions. He then enters into a critical dialogue with Walter Benjamin, Reinhart Koselleck, and Jurgen Habermas to articulate a political critique of this aesthetic. The aesthetic theory of Kant's Critique emerges not as a mere defense of the "disinterestedness" of aesthetic pleasure but as an engaged response to the political limitations of public culture during the Enlightenment. Hess argues for an understanding of these concepts as functionally interdependent, and he reflects on what this interdependence mightmean for the practice of literary and cultural criticism today. His work will interest not only Germanists and critical theorists but also art historians and historians of philosophy and political thought.
This volume records a critic's three decades of thinking about the connection between literature and the conditions of people's lives. A preference for impurity and a search for how to explain it are threads in this book as its chapters pursue the entanglements of culture, politics, and society from which great literature arises.
The surprising claim of this book is that dwelling on loss is not necessarily depressing. Instead, embracing melancholy can be a road back to contact with others and can lead people to productively remap their relationship to the world around them. Flatley demonstrates that a seemingly disparate set of modernist writers and thinkers showed how aesthetic activity can give us the means to comprehend and change our relation to loss.
Architecture can be analogous to a history, a fiction, and a landscape. We expect a history or a novel to be written in words, but they can also be cast in concrete or seeded in soil. The catalyst to this tradition was the simultaneous and interdependent emergence in the eighteenth century of new art forms: the picturesque landscape, the analytical history, and the English novel. Each of them instigated a creative and questioning response to empiricism’s detailed investigation of subjective experience and the natural world, and together they stimulated a design practice and lyrical environmentalism that profoundly influenced subsequent centuries. Associating the changing natural world with journeys in self-understanding, and the design process with a visual and spatial autobiography, this book describes journeys between London and the North Sea in successive centuries, analysing an enduring and evolving tradition from the picturesque and romanticism to modernism. Creative architects have often looked to the past to understand the present and imagine the future. Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.
The Medicalization of Addiction and Its Influence on How The Southern Baptist Convention Approaches Ministering to Those Who Struggle with Mind Altering Substances
The Medicalization of Addiction and Its Influence on How The Southern Baptist Convention Approaches Ministering to Those Who Struggle with Mind Altering Substances
Since Benjamin Rush first introduced the disease of wills as the cause of alcoholism, a steady and slow infiltration of the disease model has infected how the church treats those who struggle with addictions. The first organization that truly sought to remove the soul care of addicts from the church was Alcoholics Anonymous (AA), through their bestselling The Big Book of AA and the introduction of the 12 Steps. AA's influence on how the church confronts addiction still reverberates today, with many of the ministries that address addiction firmly rooted in what can be found in AA literature. Addictions were once viewed as an issue caused by sin and best addressed through faith and prayer. Currently addiction is seen through the lens of disease. The ramifications are consequential as more church members are struggling with addictions than ever before. Tracing the progression of addiction from sin to disease will reveal that the SBC and its churches have been negligent in understanding the underlying foundations of AA and the influence that the medicalization of substance abuse has had on how churches approach what should be classified as a sin issue.
On December 17, 1862, just weeks before Abraham Lincoln announced the Emancipation Proclamation, General Grant issued what remains the most notorious anti-Jewish order by a government official in American history. His attempt to eliminate black marketeers by targeting for expulsion all Jews "as a class" from portions of Kentucky, Tennessee, and Mississippi unleashed a firestorm of controversy that made newspaper headlines and terrified and enraged the approximately 150,000 Jews then living in the United States, who feared the importation of European anti-Semitism onto American soil. Although the order was quickly rescinded by a horrified Abraham Lincoln, the scandal came back to haunt Grant when he ran for president in 1868. Never before had Jews become an issue in a presidential contest and never before had they been confronted so publicly with the question of how to balance their "American" and "Jewish" interests. Award-winning historian Jonathan D. Sarna gives us the first complete account of this little-known episode—including Grant's subsequent apology, his groundbreaking appointment of Jews to prominent positions in his administration, and his unprecedented visit to the land of Israel. Sarna sheds new light on one of our most enigmatic presidents, on the Jews of his day, and on the ongoing debate between ethnic loyalty and national loyalty that continues to roil American political and social discourse. (With black-and-white illustrations throughout.)
For centuries, something has been slumbering deep inside of Kimmler’s Mountain. In the endless darkness, an unrelenting horror has grown...waiting. In the late 1800’s, greed sets it free. A mine owner named Martin Kimmler releases a plague upon the people of the mountain, a plague that turns the dead into ravenous demons. Cannibals. Monsters that exist only to feed and to spread the horrific infection. As the ancient cosmic evil unleashes its Hell on Earth, the men and women from the mountain towns of White Wood and Gilliam form unlikely alliances with Natives from the sacred tribe of the Madoosk. Some fight the onslaught of the dead or travel toward the heart of the mountain, to the source of the plague. Others risk life and limb to escape Kimmler’s Mountain with as much pilfered gold as possible, cutting ruthless swaths across the lawless landscape and through anyone in their way. Battles great and small will dot the blood-soaked mountain as the good in men battles the cosmic evil. The Great Evil is awake. The Great Plague is spreading. The End of Humanity hangs in the snapping jaws of the Hollow Mountain Dead.
Man vs. Machine Technology continues to advance at a rapid pace. It may sound quaint today, but not so long ago, computers battled humans for supremacy at the game of chess. The challenge of building a computer program capable of defeating the best of human-kind at chess was one of the original grand challenges of the fledgling field of artificial intelligence. On one side were dedicated scientists and hobbyists who invested decades of effort developing the software and hardware technology; on the other side were incredibly talented humans with only their determination and preparation to withstand the onslaught of technology. The man versus machine battle in chess is a landmark in the history of technology. There are numerous books that document the technical aspects of this epic story. The human side is not often told. Few chess players are inclined to write about their man-machine encounters, other than annotating the games played. This book brings the two sides together. It tells the stories of many of the key scientists and chess players that participated in a 50-year research project to advance the understanding of computing technology. “Grandmaster Karsten Müller and Professor Jonathan Schaeffer have managed to describe the fascinating history of the unequal fight of man against machine in an entertaining and instructive way. It evoked pleasant and not so pleasant memories of my own fights against the monsters. I hope that their work gives you as much pleasure as it has given me.” – From the Foreword by Vladimir Kramnik, 14th World Chess Champion
Few intellectual figures of the twentieth century dealt with such a vast scope of subjects as Theodor Adorno (1903-1969). His insights, therefore, lend themselves to critical overview as many have cross-disciplinary relevance, appealing to scholars from a variety of backgrounds. Adorno and the Need in Thinking examines questions dealt with in the works of Adorno, offering a glimpse at the development of his complex thought. This collection of essays, though dealing with different topics from section to section, is unified by the idea that, at least in the English-speaking world, there are numerous facets of Adorno's work that have been hitherto neglected in terms of critical scholarship. Adorno and the Need in Thinking addresses these forgotten nuances, whether they apply to questions of politics, language, metaphysics, aesthetics, ecology, or several of these at once. Also included for the first time in English is Adorno's important early essay, "Theses on the Language of the Philosopher." At a time when Adorno scholarship is on the rise, this collection sheds light on new areas of critical research, adding another dimension to the existing literature on this most important intellectual.
Explores Americans' increasing attraction to alternative medicine by looking at two alternative health networks, one "New Age," the other conservative Christian.
This fascinating argument from Jonathan Hill presents the case for the significance and importance of the immaterial in architecture. Architecture is generally perceived as the solid, physical matter that it unarguably creates, but what of the spaces it creates? This issue drives Hill's explorative look at the immaterial aspects of architecture. The book discusses the pressures on architecture and the architectural profession to be respectively solid matter and solid practice and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing and design of spaces and surfaces. Focusing on immaterial architecture as the perceived absence of matter, Hill devises new means to explore the creativity of both the user and the architect, advocating an architecture that fuses the immaterial and the material and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use. This is a useful and innovative read that encourages architects and students to think beyond established theory and practice.
Reassessing the ancestry of contemporary criticism, Jonathan Arac opens current debates over English studies to a larger understanding of cultural and political history, from romanticism through postmodernism. This work of creative scholarship enlarges our knowledge of the history of criticism while also exemplifying a new practice of writing literary history. Arac draws new lines from Wordsworth, Coleridge, Shelley, and Arnold to their modern successors and to recent developments in Marxism and poststructuralism.
This text has been revised and updated to take account of the variety of contexts within the Lifelong Learning Sector. It provides a source of guidance, support and training materials for those involved with mentoring within the sector and presents current theory in an accessible way, illustrated with familiar and pertinent examples. The book shows how a system of mentoring can be successfully implemented, monitored and evaluated within a college or other lifelong learning organisation and explores what the experts and theorists have to say about mentoring, to see how well this fits with the reality of day-to-day experience.
Selected by Choice magazine as an Outstanding Academic Title The New Historicism of the 1980s and early 1990s was preoccupied with the fashioning of early modern subjects. But, Jonathan Gil Harris notes, the pronounced tendency now is to engage with objects. From textiles to stage beards to furniture, objects are read by literary critics as closely as literature used to be. For a growing number of Renaissance and Shakespeare scholars, the play is no longer the thing: the thing is the thing. Curiously, the current wave of "thing studies" has largely avoided posing questions of time. How do we understand time through a thing? What is the time of a thing? In Untimely Matter in the Time of Shakespeare, Harris challenges the ways we conventionally understand physical objects and their relation to history. Turning to Renaissance theories of matter, Harris considers the profound untimeliness of things, focusing particularly on Shakespeare's stage materials. He reveals that many "Renaissance" objects were actually survivals from an older time—the medieval monastic properties that, post-Reformation, were recycled as stage props in the public playhouses, or the old Roman walls of London, still visible in Shakespeare's time. Then, as now, old objects were inherited, recycled, repurposed; they were polytemporal or palimpsested. By treating matter as dynamic and temporally hybrid, Harris addresses objects in their futurity, not just in their encapsulation of the past. Untimely Matter in the Time of Shakespeare is a bold study that puts the matériel—the explosive, world-changing potential—back into a "material culture" that has been too often understood as inert stuff.
Language in Literature examines the overlap and blurring boundaries of English, comparative and world poetry and literature. Questions of language, literature, translation and creative writing are addressed as befitting an author who is a poet, literary scholar and historian. The book begins with metaphor, which Aristotle thought, in Poetics, was the key gift of the poet, and discusses it in theory and practice; it moves from the identity of metaphor to identity in translation and culture; it examines poetry in a comparative and world context; it looks at image and text; it explores literature and culture in the Cold War; it explores the role of the poet and scholar in translating poetry East and West; it places creative writing in theory and practice in context East and West; it concludes by summing up and suggesting implications of creation in language, translating and interpreting, and its expression in literature, especially in poetry.
Popular historian and former White House speechwriter Jonathan Horn “provides a captivating and enlightening look at George Washington’s post-presidential life and the politically divided country that was part of his legacy” (New York Journal of Books). Beginning where most biographies of George Washington leave off, Washington’s End opens with the first president exiting office after eight years and entering what would become the most bewildering stage of his life. Embittered by partisan criticism and eager to return to his farm, Washington assumed a role for which there was no precedent at a time when the kings across the ocean yielded their crowns only upon losing their heads. In a different sense, Washington would lose his head, too. In this riveting read, bestselling author Jonathan Horn reveals that the quest to surrender power proved more difficult than Washington imagined and brought his life to an end he never expected. The statesman who had staked his legacy on withdrawing from public life would feud with his successors and find himself drawn back into military command. The patriarch who had dedicated his life to uniting his country would leave his name to a new capital city destined to become synonymous with political divisions. A “movable feast of a book” (Jay Winik, New York Times bestselling author of 1944), immaculately researched, and powerfully told through the eyes not only of Washington but also of his family members, friends, and foes, Washington’s End is “an outstanding biographical work on one of America’s most prominent leaders (Library Journal).
The book deals with film, television, information technology, consumer products and popular literature, and assesses challenges to conceptions of the postmodern based on gender, race and religion.
A mystery lands – literally – at Tom Winscombe’s feet, and another riotous mathematical adventure begins... Tom Winscombe and Dorothy Chan haven’t managed to go on a date for some time, so it’s a shame that their outing to a Promenade Concert is cut short when a mysterious cowled figure plummets from the gallery to the floor of the arena close to where they are standing. But when they find out who he was, all thoughts of romance fly out of the window. Just who are the Fractal Monks, and what does Isaac, last of the Vavasors and custodian of the papers of famed dead mathematical geniuses Archie and Pye, want with them? How will other figures from the past also demand a slice of the action? And what other mysteries are there lurking at the bottom of the sea and at the top of mountains? The answers lie in The Riddle of Fractal Monks. Praise for Jonathan Pinnock: ‘Lovely stuff.’ Ian Rankin 'A series of humorous, riotous mathematical mysteries.' David Nicholls ‘He makes funny and self-deprecating company.’ The Herald ‘Jonathan Pinnock writes compelling tales with a deliciously wicked glint in his eye.’ Ian Skillicorn, National Short Story Week ‘Jonathan Pinnock is Roald Dahl’s natural successor.’ Vanessa Gebbie ‘Funny, clever, and sometimes brilliantly daft. A comedy that I am sure would have made Pythagoras, Archimedes and Douglas Adams all laugh out loud.’ Scott Pack on The Truth About Archie and Pye
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.
A Tidy Faith is distinctive as a work of systematic theology in that it comes out of a Reformed Baptist stable: this is especially relevant for the sections on the church, worship, and the sacraments. Bayes seeks to lay the biblical foundation for each doctrinal subject, using an exegetical approach rather than merely citing prooftexts. For each doctrine, he also outlines the teaching of the early Christian creeds and the confessions of faith dating from the Reformation period, as well as referring to a small selection of modern statements of faith from different countries. Debates and interpretations of the various doctrines from different points in church history are summarized, and at the end of the exposition of every doctrinal theme, there is a section that emphasizes its practical application. This ensures that the book is not merely abstract and academic but has real down-to-earth value for Christian life and ministry.
Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. Suspensions of Perception is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters—Manet, Seurat, and Cezanne—who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
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