JURASSIC PARK Michael Crichton
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Beyond Westworld
“We Don’t Know Exactly How They Work”: Making Sense of Technophobia in 1973 Westworld, Futureworld, and Beyond Westworld Stefano Bigliardi Al Akhawayn University in Ifrane - Morocco Abstract This article scrutinizes Michael Crichton’s movie Westworld (1973), its sequel Futureworld (1976), and the spin-off series Beyond Westworld (1980), as well as the critical literature that deals with them. I examine whether Crichton’s movie, its sequel, and the 1980s series contain and convey a consistent technophobic message according to the definition of “technophobia” advanced in Daniel Dinello’s 2005 monograph. I advance a proposal to develop further the concept of technophobia in order to offer a more satisfactory and unified interpretation of the narratives at stake. I connect technophobia and what I call de-theologized, epistemic hubris: the conclusion is that fearing technology is philosophically meaningful if one realizes that the limitations of technology are the consequence of its creation and usage on behalf of epistemically limited humanity (or artificial minds). Keywords: Westworld, Futureworld, Beyond Westworld, Michael Crichton, androids, technology, technophobia, Daniel Dinello, hubris. 1. Introduction The 2016 and 2018 HBO series Westworld by Jonathan Nolan and Lisa Joy has spawned renewed interest in the 1973 movie with the same title by Michael Crichton (1942-2008), its 1976 sequel Futureworld by Richard T. Heffron (1930-2007), and the short-lived 1980 MGM TV series Beyond Westworld. The movies and the series deal with androids used for recreational purposes and raise questions about technology and its risks. I aim at an as-yet unattempted comparative analysis taking the narratives at stake as technophobic tales: each one conveys a feeling of threat and fear related to technological beings and environments. -
Walls and Fences: a Journey Through History and Economics
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Vernon, Victoria; Zimmermann, Klaus F. Working Paper Walls and Fences: A Journey Through History and Economics GLO Discussion Paper, No. 330 Provided in Cooperation with: Global Labor Organization (GLO) Suggested Citation: Vernon, Victoria; Zimmermann, Klaus F. (2019) : Walls and Fences: A Journey Through History and Economics, GLO Discussion Paper, No. 330, Global Labor Organization (GLO), Essen This Version is available at: http://hdl.handle.net/10419/193640 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu Walls and Fences: A Journey Through History and Economics* Victoria Vernon State University of New York and GLO; [email protected] Klaus F. Zimmermann UNU-MERIT, CEPR and GLO; [email protected] March 2019 Abstract Throughout history, border walls and fences have been built for defense, to claim land, to signal power, and to control migration. -
Livre-Ovni.Pdf
UN MONDE BIZARRE Le livre des étranges Objets Volants Non Identifiés Chapitre 1 Paranormal Le paranormal est un terme utilisé pour qualifier un en- mé n'est pas considéré comme paranormal par les semble de phénomènes dont les causes ou mécanismes neuroscientifiques) ; ne sont apparemment pas explicables par des lois scien- tifiques établies. Le préfixe « para » désignant quelque • Les différents moyens de communication avec les chose qui est à côté de la norme, la norme étant ici le morts : naturels (médiumnité, nécromancie) ou ar- consensus scientifique d'une époque. Un phénomène est tificiels (la transcommunication instrumentale telle qualifié de paranormal lorsqu'il ne semble pas pouvoir que les voix électroniques); être expliqué par les lois naturelles connues, laissant ain- si le champ libre à de nouvelles recherches empiriques, à • Les apparitions de l'au-delà (fantômes, revenants, des interprétations, à des suppositions et à l'imaginaire. ectoplasmes, poltergeists, etc.) ; Les initiateurs de la parapsychologie se sont donné comme objectif d'étudier d'une manière scientifique • la cryptozoologie (qui étudie l'existence d'espèce in- ce qu'ils considèrent comme des perceptions extra- connues) : classification assez injuste, car l'objet de sensorielles et de la psychokinèse. Malgré l'existence de la cryptozoologie est moins de cultiver les mythes laboratoires de parapsychologie dans certaines universi- que de chercher s’il y a ou non une espèce animale tés, notamment en Grande-Bretagne, le paranormal est inconnue réelle derrière une légende ; généralement considéré comme un sujet d'étude peu sé- rieux. Il est en revanche parfois associé a des activités • Le phénomène ovni et ses dérivés (cercle de culture). -
Michael Crichton
Michael Crichton Genre: Science fiction/Thrillers/Adventure Remember that huge movie years ago called Jurassic Park? Did you know that was based off of Michael Crichton’s book of the same name? Michael Crichton’s books can extremely detailed and involve science, adventure, political and thriller elements. While most famous for Jurassic Park and it’s sequel, The Lost World, he has written many other books tackling a wide range of subjects. The Great Train Robbery is his foray into historical fiction, and Rising Sun is a suspense story with political elements. Read-a-likes Greg Bear If you the science fiction aspect of Crichton, try Greg Bear. The Forge of God is disaster science fiction where two sets of aliens visit Earth and set in motion humanity’s demise. Darwin’s Radio tackles human evolution, where as Blood Music deals with nanotechnology. Philip Kerr Like Crichton, Kerr’s books are in a wide variety of genres. His Bernie Gunther novels, starting with March Violets, start a detective during the World War II period. The Second Angel and The Grid are science fiction thrillers, much like Crichton’s. Dark Matter: The Private Life of Sir Isaac Newton: A Novel is Kerr’s stab at historical mystery. John Darnton A scientific thriller writer, Darnton’s novels explore human cloning, evolution, and the soul. His book Mind Catcher deals with whether souls can be transferred to a computer chip. Two scientists get caught up in a conspiracy when they discover ancient ancestors of human in Neanderthal. Steven Alten If you have a taste for science fiction thrillers that are on the weird side, try Alten’s books. -
Coming Soon Now Open
NOW OPEN COMING SOON HARRY POTTER, characters, names and related indicia are trademarks of and © Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. (s14) TRANSFORMERS and its logo and all related characters are trademarks of Hasbro and are used with permission. © 2014 Hasbro. All Rights Reserved. © 2014 DreamWorks L.L.C. and Paramount Pictures Corporation. All Rights Reserved. Jurassic Park, Jurassic Park River Adventure, Camp Jurassic ® Universal Studios/Amblin. Rocky and Bullwinkle and Friends TM & © Ward Prods. All Popeye characters TM & © 2014 KFS, Inc. TM Hearst Holdings, Inc. © MARVEL. Dr. Seuss properties TM & © 2014 Dr. Seuss Enterprises, L.P. All rights reserved. © 2014 BMP. Jimmy Buffett’s ® Margaritaville ® Jimmy Buffett. Pat O’Brien’s, Hurricane Glass logo, Have Fun! and Iron Grill Design ® Pat O’Brien’s Bar, Inc. © 2014 Pat O’Brien’s Bar, Inc. All rights reserved. Emeril’s ® Emeril Lagasse. Bubba Gump Shrimp Co. TM & © 2014 Par. Pic. Hot Dog Hall of Fame is a registered trademark of Creative Attractions, LLC. The Cowfish and all related logos TM The Cowfish Sushi Burger Bar, LLC. All rights reserved. Hollywood Drive-In Golf and associated logos are trademarks of Adventure Golf Design & Development, Inc. ©2014 AMC. Shrek 4-D © 2014 DreamWorks Animation L.L.C. T2, TERMINATOR ® StudioCanal S.A. ALL RIGHTS RESERVED. © 2014 Lyons Partnership, L.P. The Barney name and character, related characters and the overlapping dino spots and Barney and star logos are trademarks of Lyons Partnership, L.P. Reg. U.S. Pat. & Tm. Off. and other countries. THE SIMPSONS RIDE TM Twentieth Century Fox Film Corporation. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
Post-Postfeminism?: New Feminist Visibilities in Postfeminist Times
FEMINIST MEDIA STUDIES, 2016 VOL. 16, NO. 4, 610–630 http://dx.doi.org/10.1080/14680777.2016.1193293 Post-postfeminism?: new feminist visibilities in postfeminist times Rosalind Gill Department of Sociology, City University, London, UK ABSTRACT KEYWORDS This article contributes to debates about the value and utility Postfeminism; neoliberalism; of the notion of postfeminism for a seemingly “new” moment feminism; media magazines marked by a resurgence of interest in feminism in the media and among young women. The paper reviews current understandings of postfeminism and criticisms of the term’s failure to speak to or connect with contemporary feminism. It offers a defence of the continued importance of a critical notion of postfeminism, used as an analytical category to capture a distinctive contradictory-but- patterned sensibility intimately connected to neoliberalism. The paper raises questions about the meaning of the apparent new visibility of feminism and highlights the multiplicity of different feminisms currently circulating in mainstream media culture—which exist in tension with each other. I argue for the importance of being able to “think together” the rise of popular feminism alongside and in tandem with intensified misogyny. I further show how a postfeminist sensibility informs even those media productions that ostensibly celebrate the new feminism. Ultimately, the paper argues that claims that we have moved “beyond” postfeminism are (sadly) premature, and the notion still has much to offer feminist cultural critics. Introduction: feminism, postfeminism and generation On October 2, 2015 the London Evening Standard (ES) published its first glossy magazine of the new academic year. With a striking red, white, and black cover design it showed model Neelam Gill in a bright red coat, upon which the words “NEW (GEN) FEM” were superimposed in bold. -
Jurassic Park Feature Matrix
Jurassic Park Feature Matrix Main Like the blockbuster movies, the Jurassic Park pinball experience generates heart pounding excitement as the player progresses through the game Attractions Players will be transported to Isla Nublar, attempting to rescue park staff and recapturing escaped dinosaurs from the chaos invoked by Dennis Nedry's computer virus All Jurassic Park pinball machine models feature a unique spinning kinetic newton ball Jungle Explorer Vehicle, three flippers, four ramps and a custom T-Rex sculpt Premium and LE models feature a motorized animatronic ball eating, ball throwing T-Rex mechanism and an interactive Raptor Pen ball lock mechanism Stunning and distinctive hand-drawn artwork by Johnny Bergeron (AKA Johnny Crap) Features John Williams' famous Jurassic Park theme music PRO PREM LE Game Production limited to 500 machines ✓ Features Certificate of Authenticity signed by Gary Stern ✓ LE Designer Autographed collectible featuring signature by game designer Keith Elwin ✓ Only Serialized number plate ✓ Limited Edition illuminated mirrored backglass with stunning and distinctive high definition hand-drawn art ✓ Limited Edition exclusive Midnight Battle theme full color high definition decal cabinet hand-drawn artwork ✓ Limited Edition exclusive inside art blades ✓ Upgraded high definition speaker system with 3-channel amplifier ✓ High definition anti-reflection pinball glass ✓ Shaker motor ✓ Metallic hunter green high gloss powder coated armor and legs ✓ Game Animatronic articulated moving ball eating, ball throwing -
Harpercollins Books for the First-Year Student
S t u d e n t Featured Titles • American History and Society • Food, Health, and the Environment • World Issues • Memoir/World Views • Memoir/ American Voices • World Fiction • Fiction • Classic Fiction • Religion • Orientation Resources • Inspiration/Self-Help • Study Resources www.HarperAcademic.com Index View Print Exit Books for t H e f i r s t - Y e A r s t u d e n t • • 1 FEATURED TITLES The Boy Who Harnessed A Pearl In the Storm the Wind How i found My Heart in tHe Middle of tHe Ocean Creating Currents of eleCtriCity and Hope tori Murden McClure William kamkwamba & Bryan Mealer During June 1998, Tori Murden McClure set out to William Kamkwamba was born in Malawi, Africa, a row across the Atlantic Ocean by herself in a twenty- country plagued by AIDS and poverty. When, in three-foot plywood boat with no motor or sail. 2002, Malawi experienced their worst famine in 50 Within days she lost all communication with shore, years, fourteen-year-old William was forced to drop ultimately losing updates on the location of the Gulf out of school because his family could not afford the Stream and on the weather. In deep solitude and $80-a-year-tuition. However, he continued to think, perilous conditions, she was nonetheless learn, and dream. Armed with curiosity, determined to prove what one person with a mission determination, and a few old science textbooks he could do. When she was finally brought to her knees discovered in a nearby library, he embarked on a by a series of violent storms that nearly killed her, daring plan to build a windmill that could bring his she had to signal for help and go home in what felt family the electricity only two percent of Malawians like complete disgrace. -
Preface Chapter 1 Chaos Theory and the Dynamics of Narrative
Notes Preface 1. Tom Stoppard, Arcadia (London: Faber and Faber, 1993) 79. 2. Ivar Ekeland discusses the plight of Johannes Kepler, who attempted to chart the trajectories of planets in the early seventeenth century. Despite having sound theories upon which to draw, “He nevertheless had to perform monstrous computa- tions over a number of years.” Ekeland explains that, even with the digital computers of today, “There are still a great many computations that cannot be performed now or in any foresee- able future.” See Ivar Ekeland, Mathematics and the Unexpected (Chicago: University of Chicago Press, 1988) 5, 31; trans. of Le Calcul, l’imprevu: Les figures de temps du Kepler à Thom (Éditions du Seuil, 1984). 3. The phrase is James Gleick’s. His popular science book Chaos: Making a New Science (New York: Viking, 1987) brought chaos theory into the public imagination. 4. I discuss these works in chapter 1. Chapter 1 Chaos Theory and the Dynamics of Narrative 1. James P. Crutchfield, J. Doyne Farmer, Norman H. Packard, and Robert S. Shaw, “Chaos,” Scientific American December 1986: 49. These four were members of the Dynamical Systems Collective of the University of California at Santa Cruz. “Chaos” was one of the first, if not the first, popular texts on the subject of chaos theory. 2. As Crutchfield et al. point out, “The larger framework that chaos emerges from is the so-called theory of dynamical systems” (49). 3. N. Katherine Hayles discusses the concurrent scientific imprecision and cultural resonance of the terms “chaos theory” and “science of chaos” in Chaos Bound: Orderly Disorder in Contemporary 136 NOTES Literature and Science (Ithaca: Cornell University Press, 1990). -
Downloaded 17 July 2016
THE AUSTRALIAN WATER BUFFALO MANUAL Barry Lemcke Department of Primary Industry and Resources Northern Territory Government FOREWORD The Australian Water Buffalo Manual is a technical manual for the buffalo farming industry in Australia. Its author, Barry Lemcke, is a Northern Australian livestock scientist with over 42 years of experience, including a career focus on buffalo management research. The Manual reflects the extent of Barry’s knowledge and experience gained over his long career and is written in a style that makes the information accessible for all readers. It includes findings from research undertaken at Beatrice Hill Farm, Australia’s only buffalo research and development facility as well as from Barry’s travels related to the buffalo industry in numerous countries. The success of the dual purpose NT Riverine Buffalo derived from Beatrice Hill Farm, which now have progeny Australia-wide, can be largely attributed to Barry’s knowledge, dedication and persistence. John Harvey Managing Director Rural Industries Research and Development Corporation ACRONYMS AND ABBREVIATIONS USED AACo Australian Agricultural Company ABARES Australian Bureau of Agricultural and Resource Economics and Sciences AI Artificial Insemination AMIEU Australasian Meat Industry Employees Union BEF Bovine Ephemeral Fever BHF Beatrice Hill Farm (Northern Territory Government Buffalo Research Facility) BTEC National Brucellosis and Tuberculosis Eradication Campaign (Australia) cv Cultivar DM Dry Matter EEC European Economic Community ESCAS Exporter Supply -
The Process and Meaning of Sexual Assault Disclosure
Georgia State University ScholarWorks @ Georgia State University Psychology Dissertations Department of Psychology 8-8-2005 The Process and Meaning of Sexual Assault Disclosure Sharon G. Smith Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/psych_diss Part of the Psychology Commons Recommended Citation Smith, Sharon G., "The Process and Meaning of Sexual Assault Disclosure." Dissertation, Georgia State University, 2005. https://scholarworks.gsu.edu/psych_diss/7 This Dissertation is brought to you for free and open access by the Department of Psychology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Psychology Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE PROCESS AND MEANING OF SEXUAL ASSAULT DISCLOSURE by SHARON G. SMITH Under the Direction of Sarah Cook and Rod Watts ABSTRACT Disclosure of sexual assault is a complicated process which depends upon a host of factors, such as assault characteristics, the victim’s interpretation, and the level of distress she experiences. Comprehensive theories of adult sexual assault disclosure have not been proposed. Most studies concentrate on a particular aspect of disclosure, such as outcomes of disclosure and reasons for disclosing versus not disclosing. A number of gaps exist in the current literature on adult sexual assault disclosure. These include the conceptualization of disclosure as a discrete or continuous variable; how it may evolve during stages of recovery; the progression of disclosure (e.g., observable patterns to disclosing); the potential variety of motivations for disclosing beyond help-seeking; and the role of culture (e.g., how one’s cultural and familial upbringing influences comfort and acceptance of disclosure as a viable option).