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Mount Shasta Annotated Bibliography Chapter 18
Mount Shasta Annotated Bibliography Chapter 18 Legends: Other This section contains a number of unrelated entries, including material about the oft-mentioned bell legends, the little people legends, and UFO legends. Some miscellaneous entries, arguably termed legends, include an entry about two Alaskan mountains named for Mt. Shasta, and an entry for the 1930s' slang phrase "From Mt. Shasta." Some of the materials exhibit a rare originality, especially Caroling's comic-book styled Mount Shasta and the Galaxy People. This section also includes a number of miscellaneous entries which in one way or another convey the mystic and spiritual expectations of some visitors to Mt. Shasta. The [MS number] indicates the Mount Shasta Special Collection accession numbers used by the College of the Siskiyous Library. [MS2156]. Avenell, Bruce K. Mount Shasta: The Vital Essence, A Spiritual Explorers Guide. Escondido: Eureka Society, 1999. 154 pp. Subtitle: To the Natural and Man-Made Consciousness-Enhancing Structures on Mt. Shasta The author recounts spiritual lessons and experiences from several decades of travel to Mount Shasta. Sand Flat, Grey Butte, Panther Meadows, etc, are described as special places. The author has a spiritual communication with a spiritual being named Duja, on Mt. Shasta and elsewhere. The book begins: 'A small group of very dedicated people, The Eureka Society has been coming to Mt. Shasta, California, for thirty years. They come to communicate with a spiritual being with whom many of them have had spiritual experiences while camping, hiking, and meditating on the mountain.' (p. ix). 'Although Duja, or any of the spirit beings on the mountain for that matter, may appear to be standing still she must have complete control of attitude, conscious focus, mental velocity and be monitoring the expenditure of energy necessary for you to see her. -
A Publication of the Science Fiction Research Association in This Issue
292 Spring 2010 Editors Karen Hellekson SFRA 16 Rolling Rdg. A publication of the Science Fiction Research Association Jay, ME 04239 Review [email protected] [email protected] In This Issue Craig Jacobsen SFRA Review Business English Department Counting Down 2 Mesa Community College 1833 West Southern Ave. SFRA Business Mesa, AZ 85202 Statement in Response to the Arizona Immigration Bill 2 [email protected] Ask not what you can do for SFRA… 2 [email protected] SFRA Award Winners 3 Call for Executive Committee Candidates 4 Managing Editor Feature Janice M. Bogstad McIntyre Library-CD Scholarly Research and Writing 101 4 University of Wisconsin-Eau Claire Nonfiction Reviews 105 Garfield Ave. Classics and Contemporaries 8 Eau Claire, WI 54702-5010 [email protected] The Universe of Oz 9 The Unknown Lovecraft 10 Nonfiction Editor War of the Words: The Utopian Vision of H. G. Wells 11 Ed McKnight Fiction Reviews 113 Cannon Lane Deceiver 12 Taylors, SC 29687 [email protected] The Casebook of Victor Frankenstein: A Novel 12 Ares Express 14 Fiction Editor Nebula Awards Showcase 2010 15 Edward Carmien Brain Thief 16 29 Sterling Rd. Transition 17 Princeton, NJ 08540 Media Reviews [email protected] Avatar 18 Media Editor Pumzi 20 Ritch Calvin The Imaginarium of Doctor Parnassus 22 16A Erland Rd. Southern Portable Panic: Federico Álvarez’s Ataque de Pánico! 23 Stony Brook, NY 11790-1114 District B13 (Banlieue 13) 24 [email protected] Small Steps for Ants, a Giant Leap for Mankind: The SFRA Review (ISSN 1068- 395X) is published four times a year by Saul Bass’s Phase IV 24 the Science Fiction Research Association Pushing the Wrong Buttons 25 (SFRA), and distributed to SFRA members. -
Photo Journalism, Film and Animation
Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world. -
Module Und Lehrveranstaltungen Nach Semestern Ausführliche Fassung
Studium und Lehre Module und Lehrveranstaltungen nach Semestern Ausführliche Fassung WS 2012 Studiengang: BA Kun Stand: 26. Okt. 2012 - 18:55 Diese Liste enthält alle die den Modulen zugeordneten Lehrveranstaltungen des Studiengangs - geordnet nach Semestern in absteigender Reihenfolge und innerhalb eines Semesters nach Modulen. ab Seite Module und Lehrveranstaltungen im WS 2012 1 Module und Lehrveranstaltungen im SS 2012 26 Module und Lehrveranstaltungen im WS 2011 53 Module und Lehrveranstaltungen im SS 2011 72 Module und Lehrveranstaltungen im WS 2010 98 Module und Lehrveranstaltungen im SS 2010 121 Module und Lehrveranstaltungen im WS 2009 140 Module und Lehrveranstaltungen im SS 2009 167 Module und Lehrveranstaltungen im WS 2008 182 Module und Lehrveranstaltungen im SS 2008 198 Module und Lehrveranstaltungen im WS 2007 202 26.10.2012 18:55:09 Mod_VV_lang_INTEGR 1/207 Module und Lehrveranstaltungen im WS 2012 BA Kun KUG 101 # 01 BA Kun KUG 101 KUG101 Einführung in die Kunstgeschichte 6 LP O gültig für PO 2007-02-28 Fach/StR: H Fach/StR: N BA Kun KUG 101 # 01 S-3 Einführung in die kunsthistorischen Methoden 3 LP E. Leuschner Interpretationsübungen zur Kunstgeschichte bis ca 1800 (PO 2007:Einführung in die kunsthistorischen Methoden) Interpretation art history until 1800 WS 2012 3 05 0 021 ::38891:: •D• 16.10.2012 Di 18:00-20:00 LG 3/HS 112 In diesem Kurs sollen die Studierenden durch mündliche Beiträge oder selbstverfasste Kurztexte Methodenwissen für das Beschreiben und Interpretieren von Kunstwerken des in KUG 101#01 behandelten Zeitraums nach Kriteren wie Material, Stil, Aussage/Bedeutung und kulturelle Kontexte erwerben. In this course, students will develop and sharpen their interpretative skills by describing and analysing works of art from the period covered by course KUG 101#01 according to criteria such as artistic technique, style, meaning and cultural contexts. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Readercon 14
readercon 14 program guide The conference on imaginative literature, fourteenth edition readercon 14 The Boston Marriott Burlington Burlington, Massachusetts 12th-14th July 2002 Guests of Honor: Octavia E. Butler Gwyneth Jones Memorial GoH: John Brunner program guide Practical Information......................................................................................... 1 Readercon 14 Committee................................................................................... 2 Hotel Map.......................................................................................................... 4 Bookshop Dealers...............................................................................................5 Readercon 14 Guests..........................................................................................6 Readercon 14: The Program.............................................................................. 7 Friday..................................................................................................... 8 Saturday................................................................................................14 Sunday................................................................................................. 21 Readercon 15 Advertisement.......................................................................... 26 About the Program Participants......................................................................27 Program Grids...........................................Back Cover and Inside Back Cover Cover -
March 2013 NASFA Shuttle
Te Shutle March 2013 Te Next NASFA Meetng is Saturday 16 March 2013 at te Regular Locaton ConCom Meeting 16 March, 3P; see below for details Member of MindGear LLC <mindgearlabs.com>, discussing d Oyez, Oyez d 3D printers. (And doubtless he’ll touch on some of the other cool stuff in their lab.) The next NASFA Meeting will be at 6P, Saturday 16 MARCH ATMM March 2013 at the regular meeting location—the Madison The host and location for the March After-the-Meeting Meet- campus of Willowbrook Baptist Church (old Wilson Lumber ing are undetermined at press time, though there’s a good Company building) at 7105 Highway 72W (aka University chance it will be at the church. The usual rules apply—that is, Drive). Please see the map below if you need help finding it. please bring food to share and your favorite drink. MARCH PROGRAM Also, assuming it is at the church, please stay to help clean The March program will be Rob Adams, the Managing up. We need to be good guests and leave things at least as clean as we found them. CONCOM MEETINGS The next Con†Stellation XXXII concom meeting will be 3P Saturday 16 March 2013—the same day as the club meeting. Jeff Road Jeff Kroger At press time the plan is to meet at the church, but that’s subject to confirmation that the building will be available at that time. US 72W Please stay tuned to email, etc., for possible updates. (aka University Drive) CHANGING SHUTTLE DEADLINES The latest tweak to the NASFA Shuttle schedule shifted the usual repro date somewhat to the right (roughly the weekend before each meeting) but much of each issue will need to be Slaughter Road Slaughter put to bed as much as two weeks before the monthly meeting. -
Lost Continents and the Hollow Earth: I Remember Lemuria and the Shaver Mystery Pdf, Epub, Ebook
LOST CONTINENTS AND THE HOLLOW EARTH: I REMEMBER LEMURIA AND THE SHAVER MYSTERY PDF, EPUB, EBOOK David Hatcher Childress, Richard Shaver | 280 pages | 25 Feb 2015 | Adventures Unlimited Press | 9780932813633 | English | Kempton, IL, United States Lost Continents and the Hollow Earth: I Remember Lemuria and The Shaver Mystery PDF Book Gene and Randall present a Paracast favorite, author and researcher Kevin D. Mar 3, Jun 4, Is Mason Reynolds real? We shall land you in exactly seven minutes! In that case, we might be able to travel the same path, but with a different view of reality. In the myths and traditions of the subterranean world it is often said that the world's surface was yet to suffer a terrible world war Third World War , which would though be ended by earthquakes, other natural disasters and a switching of the poles and the deaths therefrom of two thirds of humanity. Allen, Gene and other long-time researchers, including Rick Hilberg, were pioneers of the teen Ufology movement in the early s. The sub-cities were created as refuges for the people and as safe havens for sacred records, teachings and technologies that were cherished by these ancient cultures. The discussion begins by remembering their first meetings and ongoing association with Steiger, and segues into the seldom-revealed limitations of writing books covering the UFO genre and similar subjects. We welcome investigative writer and researcher Peter Robbins. In comparison, "The Return of Sathanas" is more polished and conventional, though still laced with the oddities and ideosyncrasies of the previous work. -
Nebula Awards Showcase 2012
an imprint of Prometheus Books Amherst, NY Published 2012 by Pyr®, an imprint of Prometheus Books Nebula Awards Showcase 2012. Copyright © 2012 by Science Fiction and Fantasy Writers of America (SFWA, Inc.). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, digital, electronic, mechanical, photocopying, recording, or otherwise, or conveyed via the Internet or a website without prior written permission of the publisher, except in the case of brief quotations em- bodied in critical articles and reviews. Cover illustration © Michael Whelan Cover design by Grace M. Conti-Zilsberger Inquiries should be addressed to Pyr 59 John Glenn Drive Amherst, New York 14228–2119 VOICE: 716–691–0133 FAX: 716–691–0137 WWW.PYRSF.COM 16 15 14 13 12 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Nebula Awards showcase 2012 / edited by James Patrick Kelly and John Kessel. p. cm. ISBN 978–1–61614–619–1 (pbk. : alk. paper) ISBN 978–1–61614–620–7 (ebook) 1. Science fiction, American. I. Kelly, James P. (James Patrick) II. Kessel, John. PS648.S3A16 2012 813'.0876208—dc23 2012000382 Printed in the United States of America on acid-free paper PERMISSIONS “Ponies,” copyright 2010 by Kij Johnson, first published on Tor.com, January 2010. “The Sultan of the Clouds,” copyright 2010 by Geoffrey Landis, first published in Asimov’s Sci- ence Fiction, September 2010. “Map of Seventeen,” copyright 2010 by Christopher Barzak, first published in The Beastly Bride: Tales of the Animal People, edited by Ellen Datlow and Terry Windling, Viking. -
Lego Brickfilms
Lego Brickfilms Yitong Hong 1444486 Contents P1. Aim P2. Objectives P3. Methods & Strategies / Project Timeline P4. Research Contents P11. Written Manuscript P12. Synopsis of film P13. Treatment P14 Storyboard Concept Drawings, Sketches, Motion Graphic Tests P15. References Lecturer: DACA6321 Motion Graphic Design 021 111 5581 [email protected] Lamwilai Peeti Semester 1 2017 Wednesdays 9:30am - 12:30pm Room 001-2120 project briefs As part of your DACA6321 Motion Graphic Design assessment — you will introduce a 30% supporting document outlining your proposed approaches, ideas, intentions, methods and Storyboard & strategies grounding your Major Project. Treatment Exercise This Project Proposal will be assembled and presented in a Digital PDF Format at A3 Landscape size. At a minimum, your proposal document will introduce the following Aim components in support of your animation pitch: • Project Proposal & Outline • Treatments & Storyboards • Production Plans, Strategies & Timeline • Research Areas & Case Studies Due: 12:30pm, Wednesday 3 May (Week 8) Introduction 70% For the DACA6321 Motion Graphic Design Project, you will produce a 1.5-2 minute Motion Graphic Project title sequence for a film fictionalised by you. This motion title sequence will not only demonstrate your practical understanding of technical compositing, editing and animating processes from the treatment conceptualisation stage right through to its final render, but also a thorough application of motion graphic principles, theory, and awareness for storytelling conventions in a time-based graphic medium. Brief You are to author a short fictional (or based on actual events) story that will serve as a foundation for you to unleash and explore with your inner Saul Bass. -
Fragmentary Futures: Bradbury's Illustrated Man Outlines--And Beyond
2015 Fragmentary Futures: Bradbury's Illustrated Man Outlines--and Beyond Jonathan R. Eller Indiana University-Purdue University Indianapolis Indianapolis, Indiana, USA IUPUI ScholarWorks This is the author’s manuscript: This article was puBlished as Eller, Jonathan R. “Fragmentary Futures: Bradbury's Illustrated Man Outlines--and Beyond” The New Ray Bradbury Review 4 (2015): 70- 85. Print. No part of this article may Be reproduced, stored in a retrieval system, transmitted, or distriButed, in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of Kent State University Press. For educational re-use, please contact the Copyright Clearance Center (508-744- 3350). For all other permissions, please contact Carol Heller at [email protected]. https://scholarworks.iupui.edu Fragmentary Futures: Bradbury’s Illustrated Man Outlines—and Beyond “I believe first drafts, like life and living, must be immediate, quick, passionate. By writing a draft in a day I have a story with a skin around it.” Ray Bradbury’s creative coda originated long before he fashioned this concise version of it for his December 1964 Show magazine interview. His daily writing habit had become a quotidian fever by the early 1940s, and he soon learned to avoid interruptions from any other voices—including his own rational judgments. Each day became a race between subconscious inspiration and the stifling effects of his own self-conscious thoughts—the more logical thought patterns that he desperately tried to hold at bay during the few hours it would take him to complete an initial draft. Bradbury was convinced that the magic would dissolve away if he failed to carry through on a story idea or an opening page at first sitting, and it’s not surprising that his Show interview coda came with a cautionary corollary: “If one waits overnight to finish a story, quite often the texture one gets the next day is different. -
Chapter 1 Voyages Into Space
OUP CORRECTED PROOF–FINAL, 29/4/2011, SPi Chapter 1 Voyages into space One of the first images we associate with science fiction is the spaceship; one of the first plot lines we expect is the journey into space, whose unlimited expanse licensed an outward reach of the novelists’ imagination. Historically, there was an easy continuity between sea journeys such as that in Thomas More’s Utopia or Gulliver’s Travels and space flights. Both are represented as voyages, and both are innately serial because the action takes place between long periods of transition. Indeed, in early science fiction the use of anti-gravity devices was self-evidently a pretext for rapidly covering the enormous distances of space. Cyrano de Bergerac’s twin narratives, The States and Empires of the Moon (1657) and The States and Empires of the Sun (unfinished at his death), both use a rocket journey from the Earth to set up their narratives, but it is no real concern of theirs to explain the technology of the rocket or the journeys, only the worlds at their destinations. In these cases and in many subsequent works, the space voyage functions as a device for estranging us from the familiar world, enabling external (and usually ironic) perspectives to be set up on Earth. Thus Bergerac’s traveller is forced in both cases to re-examine his presumptions about earthly values, and is considered by the Moon-dwellers to be little more than an ape. A later example shows the continuity between the two kinds of 6 OUP CORRECTED PROOF–FINAL, 29/4/2011, SPi voyage.