Holographic Wormhole Drive: Philosophical Breakthrough in FTL 'Warp-Drive' Technology
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The Pentagon's UAP Task Force
The Pentagon’s UAP Task Force Franc Milburn Mideast Security and Policy Studies No. 183 THE BEGIN-SADAT CENTER FOR STRATEGIC STUDIES BAR-ILAN UNIVERSITY Mideast Security and Policy Studies No. 183 The Pentagon’s UAP Task Force Franc Milburn The Pentagon’s UAP Task Force Franc Milburn © The Begin-Sadat Center for Strategic Studies Bar-Ilan University Ramat Gan 5290002 Israel Tel. 972-3-5318959 Fax. 972-3-5359195 [email protected] www.besacenter.org ISSN 0793-1042 November 2020 Cover image: Screen capture of US Navy footage of an Unidentified Aerial Phenomenon, US Department of Defense The Begin-Sadat (BESA) Center for Strategic Studies The Begin-Sadat Center for Strategic Studies is an independent, non-partisan think tank conducting policy-relevant research on Middle Eastern and global strategic affairs, particularly as they relate to the national security and foreign policy of Israel and regional peace and stability. It is named in memory of Menachem Begin and Anwar Sadat, whose efforts in pursuing peace laid the cornerstone for conflict resolution in the Middle East. Mideast Security and Policy Studies serve as a forum for publication or re-publication of research conducted by BESA associates. Publication of a work by BESA signifies that it is deemed worthy of public consideration but does not imply endorsement of the author’s views or conclusions. Colloquia on Strategy and Diplomacy summarize the papers delivered at conferences and seminars held by the Center for the academic, military, official and general publics. In sponsoring these discussions, the BESA Center aims to stimulate public debate on, and consideration of, contending approaches to problems of peace and war in the Middle East. -
Star Trek.” Let’S Explore the Science of Space!
Newspapers In Education and the Washington State Fair present BIG in the Future: STAR TREK AND SPACE “Star Trek: The Exhibition” is The Washington State Fair’s special exhibit featuring the science and technology behind the popular TV series, “Star Trek.” Let’s explore the science of space! SPEED: REALITY VS. FICTION If you’ve ever watched a video of a rocket launch, you’ll remember seeing enormous clouds of smoke and flmes as the spacecraft lifted off. The vessels in Star Trek, on the other hand, don’t have rocket engines and don’t shoot out hot exhaust gases. This is because in the show’s imagined future, scientists have made major breakthroughs in physics and propulsion. These advances—unknown to present science—allow a starship to “push” against something other than rocket exhaust. Known as warp drive, these fictional engines give starships the ability to travel at many times the speed of light. With warp drive, distances that would take tens of thousands of years to cover with today’s technology can be reached in just a few hours or days. A Star Trek-like propulsion system would make a lot of people very happy! IS ANYONE OUT THERE? When it comes to space, you’ll often encounter numbers so big that they give people headaches. It’s estimated that the visible universe has about 170,000,000,000 galaxies (the Milky Way being one of them) with a total of 300,000,000,000,000,000,000,000 stars between them (the sun being one of What qualities them). -
Pyramid Volume 3 in These Issues (A Compilation of Tables of Contents and in This Issue Sections) Contents Name # Month Tools Of
Pyramid Volume 3 In These Issues (A compilation of tables of contents and In This Issue sections) Contents Name # Month Name # Month Tools of the Trade: Wizards 1 2008-11 Noir 42 2012-04 Looks Like a Job for… Superheroes 2 2008-12 Thaumatology III 43 2012-05 Venturing into the Badlands: Post- Alternate GURPS II 44 2012-06 3 2009-01 Apocalypse Monsters 45 2012-07 Magic on the Battlefield 4 2009-02 Weird Science 46 2012-08 Horror & Spies 5 2009-03 The Rogue's Life 47 2012-09 Space Colony Alpha 6 2009-04 Secret Magic 48 2012-10 Urban Fantasy [I] 7 2009-05 World-Hopping 49 2012-11 Cliffhangers 8 2009-06 Dungeon Fantasy II 50 2012-12 Space Opera 9 2009-07 Tech and Toys III 51 2013-01 Crime and Grime 10 2009-08 Low-Tech II 52 2013-02 Cinematic Locations 11 2009-09 Action [I] 53 2013-03 Tech and Toys [I] 12 2009-10 Social Engineering 54 2013-04 Thaumatology [I] 13 2009-11 Military Sci-Fi 55 2013-05 Martial Arts 14 2009-12 Prehistory 56 2013-06 Transhuman Space [I] 15 2010-01 Gunplay 57 2013-07 Historical Exploration 16 2010-02 Urban Fantasy II 58 2013-08 Modern Exploration 17 2010-03 Conspiracies 59 2013-09 Space Exploration 18 2010-04 Dungeon Fantasy III 60 2013-10 Tools of the Trade: Clerics 19 2010-05 Way of the Warrior 61 2013-11 Infinite Worlds [I] 20 2010-06 Transhuman Space II 62 2013-12 Cyberpunk 21 2010-07 Infinite Worlds II 63 2014-01 Banestorm 22 2010-08 Pirates and Swashbucklers 64 2014-02 Action Adventures 23 2010-09 Alternate GURPS III 65 2014-03 Bio-Tech 24 2010-10 The Laws of Magic 66 2014-04 Epic Magic 25 2010-11 Tools of the -
The Holographic Self: Self-Representation and Logics of Digitality
THE HOLOGRAPHIC SELF: SELF-REPRESENTATION AND LOGICS OF DIGITALITY IN THREE CONTEMPORARY NARRATIVES OF COSMOPOLITANISM NAVNEET ALANG A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, CANADA DECEMBER 2015 © NAVNEET ALANG, DECEMBER 2015 ii Abstract This dissertation is an examination of the holographic self in three contemporary novels of cosmopolitanism. The holographic self is a concept I present which expands upon the cyborg to foreground a self that operates in relation to a “hologram”—a public-facing digital self-representation—or operates in the logic of such. In this project, I deploy two models of the holographic self: one in which the hologram functions as an interface for fantasy to move toward an actualization of an ego-ideal; and another in which the amalgam of holograms or instantiations of self form a rhizomatic or constellational arrangement of subjectivity in which movement itself is prioritized. In each of the focal novels—Gautam Malkani's Londonstani; Hari Kunzru's Transmission; Teju Cole's Open City—the protagonist functions as a holographic self in a manner that expresses a desire for a post-positionality subjectivity, where traditional notions of bodily or singular identity itself are exceeded. In chapter one I argue that in Londonstani, protagonist Jas seeks to produce a culturally hybrid self in which the virtual is used as a tool of self- actualization, as it ultimately prioritizes the bodily self reconfigured by its holographic dimensions. I compare the novel to Wilde's Portrait of Dorian Gray to suggest that text has no similarly phenomenal ground for an “outsourced self.” In chapter two, I assert that in Transmission, Arjun also operates in relation to a hologram of self, but the text's desire for Arjun to exceed identity itself expresses a yearning for a non-bodily notion of selfhood that seeks to escape the policing of identity. -
Ground-Based Photographic Monitoring
United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs. -
I. Introduction
A Simplified Guide To Rocket Science and Beyond – Understanding The Technologies of The Future Deep Bhattacharjee * , Sanjeevan Singha Roy Abstract : Rocket science has always been fairly complex. Its not because, it deals only the properties of rocket dynamics, attitude control, propulsion systems but the complexity arises mostly as a result of its payload, whether its manned or unmanned, how to make that payload reaches to orbit? How to a ssemble them in orbit to make giant structures like space stations? And most importantly, the mechanisms and aerodynamics of the shu t- tle associated with the lifting of the rocket. This paper , not only helps to make ease out the complex terminology, rigorou s mathematics, pain stro k- ing equations into a simplified norms, like a non - fiction for the general readers but also, no pre - requisite knowledge in the fi eld is needed to study this paper . However, every possible attempt have been make to simplify the dynam ics of rocket sciences and control mechanisms to the most easier way that one can imagine, still, there are some complex terminologies but pictures are provided deliberately with facts and h istories to boost up the way of understanding the subject much mor e better than before. It has been deliberately proved in this paper that rockets along with orbital m e- chanics, Kessler’s syndrome, Lunar and Martial landing of the Apollo and the Curiosity rovers, is not the future of the humanity to reach out to the stars . Therefore, to eliminate time completely, to warp the space in a new way, to make the gravity constant at 1g Earth gravity, physics of Ele c- trohydrodynamics – Or, the physics beyond the rocket propulsion by harnessing the Anti - Gravity is discussed in detai ls with various types of engines and experiments carried out throughout the globe. -
Media in Instruction and Management Manual. INSTITUTION Central Michigan Univ., Mount Pleasant
DOCUMENT RESUME ED 126 916 95 IR 003 831 AUTHOR Bergeson, John B. TITLE Media in Instruction and Management Manual. INSTITUTION Central Michigan Univ., Mount Pleasant. Inst. for Personal and Career Development. SPONS AGENCY Office of Education (DHEW), Washington, D.C. REPORT NO USOE-P-04-074578 PUB DATE 76 NOTE 292p. EDRS PRICE MF-$0.83 HC-$15.39 Plus Postage. DESCRIPTORS *Audio Equipment; Equipment Utilization; *Instructional Media; Manuals; *Media Selection; Media Specialists; *Projection Equipment; Secondary Education ABSTRACT This manual is designed to assist students ina course on media in instruction and management. Unitsare included on: (1) still picture projection;(2) audio media; (3) motion picture projection;(4) print media, duplication, and displays; (5)selection of appropriate instructional materials; and (6)selecting appropriate media. Each unit includes an introduction,pre- and post-tests, behavioral objectives, an instructional monograph,and instructional activities. (EMH) *********************************************************************** * Documents acquired by ERIC include many informal unpublished * *,laterials not available from othersources. ERIC makes every effort* *to obtain the best copy available. Nevertheless, items ofmarginal * * reproducibility are often encountered and thisaffects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * *via the ERIC Document Reproduction Service (EDRS).EDRS is not * *responsible for the quality of the original document.Reproductions* * supplied -
A New Materialist Reading of Steampunk Materialities in William
Of Engines and Monsters: A New Materialist Reading of Steampunk Materialities in William Gibson and Bruce Sterling’s The Difference Engine and China Miéville’s Perdido Street Station by Zafeiroula Kavvadia A dissertation submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy of the Aristotle University of Thessaloniki in partial fulfillment of the requirements for the degree of Master of Arts. Aristotle University of Thessaloniki NOVEMBER 2017 Of Engines and Monsters: A New Materialist Reading of Steampunk Materialities in William Gibson and Bruce Sterling’s The Difference Engine and China Miéville’s Perdido Street Station by Zafeiroula Kavvadia Has Been Approved February 2018 APPROVED: Supervisor: Dr. Tatiani Rapatzikou Examiners: Dr. Domna Pastourmatzi Dr. Michail Kokkonis TABLE OF CONTENTS ACKNOWLEDGEMENTS …………………………………………………………………..... i ABSTRACT …………………………………………………………………………………… iii INTRODUCTION ……………………...…………………………………………………….…1 CHAPTER ONE: Ghosts and Machines: Material Objects, Technological Progress, and Human Primacy in William Gibson and Bruce Sterling’s The Difference Engine 1. An Alternative Steam-Revolution ………………………………………….... 20 1.1. Back To The Future: The Difference Engine and Steampunk Ideologies…………………………………………………………......… 23 1.2. Matter With a Vengeance: A New Materialist Reading of Objects and Settings ………………………………….……..…………….…..…..…. 28 CHAPTER TWO: “Half-Things and Neither-Nors”: Embodied Materiality, Difference, and Subjectivity in China Miéville’s Perdido Street Station 2. The Promises of Monstrous Flesh ………………………………………...…. 50 2.1. The Weird and the Weirder: China Miéville’s Tales of Darkness and Resistance ……………………………………………………..….…..… 52 2.2. “Dreamed up in bone and brick”: A New Materialist Reading of Embodied Matter ……………………………………………….…….… 56 CONCLUSION …………………………………………………………………………….…. 81 WORKS CITED ………………………………………………………………………...….… 87 Kavvadia i ACKNOWLEDGEMENTS This thesis took much, much longer to complete than anticipated. -
American Scientist the Magazine of Sigma Xi, the Scientific Research Society
A reprint from American Scientist the magazine of Sigma Xi, The Scientific Research Society This reprint is provided for personal and noncommercial use. For any other use, please send a request to Permissions, American Scientist, P.O. Box 13975, Research Triangle Park, NC, 27709, U.S.A., or by electronic mail to [email protected]. ©Sigma Xi, The Scientific Research Society and other rightsholders Engineering Next Slide, Please Henry Petroski n the course of preparing lectures years—against strong opposition from Ibased on the material in my books As the Kodak some in the artistic community—that and columns, I developed during the simple projection devices were used by closing decades of the 20th century a the masters to trace in near exactness good-sized library of 35-millimeter Carousel begins its intricate images, including portraits, that slides. These show structures large and the free hand could not do with fidelity. small, ranging from bridges and build- slide into history, ings to pencils and paperclips. As re- The Magic Lantern cently as about five years ago, when I it joins a series of The most immediate antecedent of the indicated to a host that I would need modern slide projector was the magic the use of a projector during a talk, just previous devices used lantern, a device that might be thought about everyone understood that to mean of as a camera obscura in reverse. Instead a Kodak 35-mm slide projector (or its to add images to talks of squeezing a life-size image through a equivalent), and just about every venue pinhole to produce an inverted minia- had one readily available. -
George Eastman Museum Annual Report 2018
George Eastman Museum Annual Report 2018 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 8 Photography Workshops 9 Loans 10 Objects Loaned For Exhibitions 10 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 30 Technology 32 George Eastman Legacy 34 Richard and Ronay Menschel Library 48 Purchases for the Collections 48 Photography 48 Moving Image 49 Technology 49 George Eastman Legacy 49 Richard and Ronay Menschel Library 49 Conservation & Preservation 50 Conservation 50 Photography 50 Technology 52 George Eastman Legacy 52 Richard and Ronay Menschel Library 52 Preservation 53 Moving Image 53 Financial 54 Treasurer’s Report 54 Fundraising 56 Members 56 Corporate Members 58 Annual Campaign 59 Designated Giving 59 Planned Giving 61 Trustees, Advisors & Staff 62 Board of Trustees 62 George Eastman Museum Staff 63 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2018. MAIN GALLERIES HISTORY OF PHOTOGRAPHY GALLERY Stories of Indian Cinema: A History of Photography Abandoned and Rescued Curated by Jamie M. Allen, associate curator, Department of Photography, and Todd Gustavson, exhibitions, Moving Image Department curator, Technology Collection NovemberCurated by 11,Jurij 2017–May Meden, curator 13, 2018 of film October 14, 2017–April 22, 2018 Nandita -
Conformal Gravity and the Alcubierre Warp Drive Metric
Physics Faculty Works Seaver College of Science and Engineering 2013 Conformal Gravity and the Alcubierre Warp Drive Metric Gabriele U. Varieschi Loyola Marymount University, [email protected] Zily Burstein Loyola Marymount University Follow this and additional works at: https://digitalcommons.lmu.edu/phys_fac Part of the Physics Commons Recommended Citation Gabriele U. Varieschi and Zily Burstein, “Conformal Gravity and the Alcubierre Warp Drive Metric,” ISRN Astronomy and Astrophysics, vol. 2013, Article ID 482734, 13 pages, 2013. doi: 10.1155/2013/482734 This Article is brought to you for free and open access by the Seaver College of Science and Engineering at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Physics Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Hindawi Publishing Corporation ISRN Astronomy and Astrophysics Volume 2013, Article ID 482734, 13 pages http://dx.doi.org/10.1155/2013/482734 Research Article Conformal Gravity and the Alcubierre Warp Drive Metric Gabriele U. Varieschi and Zily Burstein Department of Physics, Loyola Marymount University, Los Angeles, CA 90045, USA Correspondence should be addressed to Gabriele U. Varieschi; [email protected] Received 7 November 2012; Accepted 24 November 2012 Academic Editors: P. P. Avelino, R. N. Henriksen, and P. A. Hughes Copyright © 2013 G. U. Varieschi and Z. Burstein. is is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. -
11.4 the Optics of Other Devices
11.4 The Optics of Other Devices projection head Activity 11.4.1 Optics of an Overhead Projector focus knob Overhead projectors (Figure 1), like many optical systems, consist of three sys- tems that work together: a mechanical system, an electronic system, and an optical system. Their function is to project an enlarged image from a transparent film onto a distant screen. In this activity, you will see how the different optical optical components of the projector work together. stage Materials overhead projector appropriate screwdrivers projector case Procedure Figure 1 1. Before turning on the overhead projector, open the optical stage to see An overhead projector inside the projector case. Sketch the arrangement of optical components by considering what a cross-section of the projector would look like. Note the arrangement of any bulbs, mirrors, or lenses that you find in the projector case. Add the optics of the projection head to your sketch. 2. Turn on the projector to project an image of a letter onto a screen nearby. Make adjustments to focus the image. 3. Use the focus knob to move the projection head upward. How does this affect the image? Refocus the image. 4. Use the focus knob to move the projection head downward. How does this affect the image? Refocus the image. 5. Move the projector farther from the screen. How does this affect the image? Analysis (a) Draw a ray diagram, with at least three different rays, showing how light travels from the bulb to the screen. (b) In table form, describe the structure and function of each optical compo- nent of the overhead projector.