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Evolution Education Around the Globe Evolution Education Around the Globe
Hasan Deniz · Lisa A. Borgerding Editors Evolution Education Around the Globe Evolution Education Around the Globe [email protected] Hasan Deniz • Lisa A. Borgerding Editors Evolution Education Around the Globe 123 [email protected] Editors Hasan Deniz Lisa A. Borgerding College of Education College of Education, Health, University of Nevada Las Vegas and Human Services Las Vegas, NV Kent State University USA Kent, OH USA ISBN 978-3-319-90938-7 ISBN 978-3-319-90939-4 (eBook) https://doi.org/10.1007/978-3-319-90939-4 Library of Congress Control Number: 2018940410 © Springer International Publishing AG, part of Springer Nature 2018 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Age of Certainty
This is an archived version of the article: Angus Burgin, “Age of Certainty: Galbraith, Friedman, and the Public Life of Economic Ideas,” History of Political Economy, special volume on The Economist as Public Intellectual, ed. Tiago Mata and Steven G. Medema (Durham: Duke University Press, 2013), 191–219. For the version published in History of Political Economy with original pagination see https://doi.org/10.1215/00182702-2310998. Age of Certainty: Galbraith, Friedman, and the Public Life of Economic Ideas Angus Burgin In the summer of 1973, while watching John Dean’s testimony in the Watergate trial at his vacation house in rural Vermont, John Kenneth Galbraith received an unexpected telephone call. On the other end of the line was Adrian Malone, a producer with the BBC who had become known for developing multipart historical documentaries of notable ambition and expense (Galbraith 1981c, 528). Most recently Malone had completed The Ascent of Man, a thirteen-part series on the history of science that had attracted glowing reviews and turned its central figure, Jacob Bronowski, into a household name. Malone was now shifting his attention to the history of the social sciences and commencing the project of presenting the subject’s notoriously abstract themes to a mass audience on the small screen. Malone informed Galbraith that he would be the ideal person to guide such an enterprise. The reasons for this choice, as a later proposal noted, were readily evident: Galbraith was “that rare being, a practical philosopher.” He was “an authority who stands outside, but is respected by those with political power,” benefited from “a world- wide reputation,” and maintained the capacity to “entertain ideas and experiments from both ends of any spectrum, radical or reactionary.” ^^^^^^^^^^^^ Correspondence may be addressed to Angus Burgin, Johns Hopkins University, Department of History, 3400 North Charles Street, 338F Gilman Hall, Baltimore MD 21218; e-mail: [email protected]. -
Bronowski: the Complex Life of a Science Popularizer David Edgerton Parses a Biography of a Polymath and Star of 1970S Broadcasting
COMMENT BOOKS & ARTS SCIENCE ENGAGEMENT Bronowski: the complex life of a science popularizer David Edgerton parses a biography of a polymath and star of 1970s broadcasting. or millions of people in the 1970s, the name Jacob Bronowski was synony- mous with science. The Polish-born Fmathematician arrived in London in 1920, at the age of 12. More than half a century later, his finest hour came with the 1973 television series The Ascent of Man, made by the BBC. EVERETT COLLECTION/ALAMY EVERETT Aiming to trace what art historian Kenneth Clark did not in his 1969 series Civilisation, Bronowski’s programme was a long look at the development of society through a scien- tific lens. It was followed that year by a book of the same name. Now, Timothy Sandefur, an adjunct scholar at the libertarian think tank the Cato Institute in Washington DC, makes great claims in The Ascent of Jacob Bronowski. Sandefur describes him as more than a mere polymath, suggesting that he “was involved with nearly every major intellectual under- taking of the twentieth century”; that he was a “serious philosopher” who made “probably the finest documentary film ever made”. Up to a point. There were more Renais- sance men (and inequality meant that all too many were men) in the twentieth cen- tury than one can shake one’s specialist fist at. Just among British mathematician- philosophers, Bertrand Russell and Alfred North Whitehead were more significant in both fields than Bronowski. Chem- ist Michael Polanyi’s philosophical works, notably Personal Knowledge (1958), were in a different league from Bronowski’s mushy apologias, such as The Common Sense of Science (1951). -
Humanist Blockbuster: Jacob Bronowski and the Ascent of Man Hall, Alexander
University of Birmingham A Humanist Blockbuster: Jacob Bronowski and The Ascent of Man Hall, Alexander DOI: 10.2307/j.ctvqc6h4s License: Unspecified Document Version Peer reviewed version Citation for published version (Harvard): Hall, A 2019, A Humanist Blockbuster: Jacob Bronowski and The Ascent of Man. in Rethinking History, Science, and Religion: An Exploration of Conflict and the Complexity Principle. University of Pittsburgh Press, pp. 145- 159. https://doi.org/10.2307/j.ctvqc6h4s Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
The Ascent of Humanity.Pdf
The Ascent of Humanity Charles Eisenstein Panenthea Press The Ascent of Humanity Copyright © 2007 by Charles Eisenstein Some rights reserved: Any part of this book may be freely reproduced in physical or digital format for non-commercial purposes, provided the author and title of this book is cited as the source. On-line reproductions must also provide a link to the book website, http://www.ascentofhumanity.com. Cover Painting: Turmbau zu Babel, by Pieter Brugel the Elder, 1563. Reproduced with permission of the Kunsthistorisches Museum, Vienna, Austria. ISBN 978-0-9776222-0-7 Library of Congress cataloging-in-publication data: contact publisher Panenthea Press, www.panenthea.com 266 F, N. Arlington Ave., Harrisburg, PA, 17109 Printed in the United States First Printing: March, 2007 Dedicated to the more beautiful world our hearts tell us is possible And they said, “Come, let us build us a city and a tower, whose top may reach unto heaven.” Contents Introduction ........... 1 Chapter I: The Triumph of Technology Gee Whiz—The Future! .........13 Utopia Postponed ........................19 The Addiction to Control ......27 From Separation to Boredom....33 From Affluence to Anxiety....38 Chapter II: The Origins of Separation The Origins of Self...................51 Fire and Stone...............................57 Language and Label .................63 Mathematics and Measure ..........76 Keeping Time ...........................82 Images of Perfection ...................88 The Marvelous Piraha..............97 Cultivation and Culture...............101 -
The Documentary Handbook
The Documentary Handbook The Documentary Handbook takes a thematic approach to documentary, including chapters on the many myriad forms we watch today – from the cinematic releases of Michael Moore to low-budget internet efforts like Video Nation, from ‘shock docs’ to reality television. The Documentary Handbook is a critical introduction to the documentary film, its theory and changing practices. The book charts the evolution of the documentary from screen art to core television genre, its metamorphosis into many different types of factual TV programmes and its current emergence in forms of new media. It analyses those pathways and the transformation of means of production through economic, technical and editorial changes. The Documentary Handbook explains the documentary process, skills and job specifica- tions for everyone from industry entrants to senior personnel, and shows how the industrial evolution of television has relocated the powers and principles of decision-making. Through the use of professional ‘expert briefings’ it gives practical pointers about programme- making, from researching, developing and pitching programme ideas to their production and delivery through a fast-evolving multi-platform universe. Peter Lee-Wright is a documentary filmmaker with 30 years’ experience working for the BBC and Channel 4. He is currently Senior Lecturer in Media and Communications at Goldsmiths, University of London. His most recent writing includes critical overviews of sports documentary and trade union documentary in Encyclopedia of the Documentary Film (2005) and analysis of the changes taking place in multimedia news, notably in New Media, Old News (edited by Natalie Fenton, 2009). Media Practice Edited by James Curran, Goldsmiths, University of London The Media Practice handbooks are comprehensive resource books for students of media and journalism, and for anyone planning a career as a media professional. -
Exhibiting Cosmos
([KLELWLQJ&RVPRV 1DVVHU=DNDUL\D Technology and Culture, Volume 56, Number 3, July 2015, pp. 738-744 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/tech.2015.0086 For additional information about this article http://muse.jhu.edu/journals/tech/summary/v056/56.3.zakariya.html Access provided by University of California @ Berkeley (23 Sep 2015 21:37 GMT) 08_Zakariya_final.qxp_03_49.3dobraszczyk 568– 7/24/15 9:48 AM Page 738 BEYOND WORDS Exhibiting Cosmos NASSER ZAKARIYA Viewings of the thirteen-part 2014 Fox/National Geographic television series Cosmos: A Spacetime Odyssey are inevitably refracted through its 1980 predecessor, Cosmos: A Personal Voyage, also of thirteen parts.1 Not only does the first series still possess an enduring life in popular culture, with astronomer and popularizer Carl Sagan a lasting, if now less promi- nent, icon, but the new series itself explicitly invokes its forerunner. In 1980, the “scientific epic” or “cosmic evolution” projected in the first series was less widely known and elaborated, and the first Cosmos played a substantial role in familiarizing a television and reading public with its universal his- torical account. That history and scope of the universe, and the media devices domesticating it—initially rendered through the earlier computer- graphic and -compositing technologies of the first series—resound through the second series. The continuities from the first to the second Cosmos, from personal voyage to spacetime odyssey, include revised subject matter detailing the impossible breadth (historical and spatial) of the cosmos through identical or similar devices used to survey it: among these, the “Ship of the Imagination” to traverse the universe; the cosmic calendar, contracting the entire history of the universe to one calendar year; and nat- ural historical re-creations and human historical reconstructions. -
'Civilisation': the Past, Present
After ‘Civilisation’: The Past, Present and Future of| Art on TV Wednesday 27 May 2009 The Hospitium, Museum Gardens, York Organised by the Institute For The Public Understanding Of The Past with the History of Art Department, University of York, in partnership with York Museums Trust and with generous funding from The Linbury Trust IPUP Institute for the Pu blic Understanding of the Past The Institute for the Public IPUPUnderstanding of the Past explores the role of the past in everyday life. IPUP is a new Institute at the University of York, directed by Professor Helen Weinstein, which aims to generate new understandings of how identities are constructed and how narratives of the past function in our society. Founded to promote partnerships and consultancies between museums, galleries, heritage, and the media, IPUP draws together researchers, practitioners and audiences. IPUP’S mission is to establish and embed new methodologies relating to understandings of the past through discussion and collaborative projects and to explore the ways in which audiences engage with the past. For further information about IPUP and current projects see the website: http://www.york.ac.uk/ipup/ After ‘Civilisation’: The Past, Present and Future of Art on TV Wednesday 27th May 2009 held at The Hospitium, Museum Gardens, Museum St, York YO1 Contact: [email protected] A symposium to bring together presenters, producers, curators and academics to discuss how art is communicated on television 40 years after the broadcast of Kenneth Clark’s ‘Civilisation’