Human Nature in Its Fourfold State
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HUMAN NATURE YEAR 2019 | RUN TIME 95 Mins | LANGUAGE English
HUMAN NATURE YEAR 2019 | RUN TIME 95 mins | LANGUAGE English www.humannaturefilm.com DIRECTED BY ADAM BOLT EXECUTIVE PRODUCED BY ELLIOT KIRSCHNER, GREG BOUSTEAD, AND DAN RATHER SALES CONTACT: PRESS CONTACT: Roco Films Sarah Goodwin Annie Roney [email protected] [email protected] Meredith DeSalazar [email protected] HUMAN NATURE DIRECTED BY ADAM BOLT FILM FESTIVALS WORLD PREMIERE 2019 SXSW Film Festival 2019 OFFICIAL SELECTION CPH:DOX Film Festival Hot Docs Film Festival Full Frame Film Festival Newport Beach Film Festival Seattle International Film Festival AFI Docs Film Festival AFO Film Festival (Audience Award) Silbersalz Science & Media Festival Woods Hole Film Festival Savonlinna International Film Festival Visioni Dal Mondo Festival Homer Documentary Film Festival Jackson Wild Summit Vancouver International Film Festival Sausalito Film Festival Bergen International Film Festival Globe Docs Doctober Pariscience Film Festival Orcas Island Film Festival 2 HUMAN NATURE DIRECTED BY ADAM BOLT SYNOPSIS A breakthrough called CRISPR has given us unprecedented control over the basic building blocks of life. It opens the door to curing diseases, reshaping the biosphere, and designing our own children. Human Nature is a provocative exploration of CRISPR’s far-reaching implications, through the eyes of the scientists who discovered it, the families it’s affecting, and the bioengineers who are testing its limits. How will this new power change our relationship with nature? What will it mean for human evolution? To begin to answer these questions we must look back billions of years and peer into an uncertain future. 3 HUMAN NATURE DIRECTED BY ADAM BOLT BACKSTORY Human Nature is about the power of scientific research to change the course of human history, evolution, and the natural world. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Jekyll and Hyde Plot, Themes, Context and Key Vocabulary Booklet
Jekyll and Hyde Plot, Themes, Context and key vocabulary booklet Name: 1 2 Plot Mr Utterson and his cousin Mr Enfield are out for a walk when they pass a strange-looking door Chapter 1 - (which we later learn is the entrance to Dr Jekyll's laboratory). Enfield recalls a story involving the Story of the door. In the early hours of one winter morning, he says, he saw a man trampling on a young girl. He Door chased the man and brought him back to the scene of the crime. (The reader later learns that the man is Mr Hyde.) A crowd gathered and, to avoid a scene, the man offered to pay the girl compensation. This was accepted, and he opened the door with a key and re-emerged with a large cheque. Utterson is very interested in the case and asks whether Enfield is certain Hyde used a key to open the door. Enfield is sure he did. That evening the lawyer, Utterson, is troubled by what he has heard. He takes the will of his friend Dr Chapter 2 - Jekyll from his safe. It contains a worrying instruction: in the event of Dr Jekyll's disappearance, all his Search for possessions are to go to a Mr Hyde. Mr Hyde Utterson decides to visit Dr Lanyon, an old friend of his and Dr Jekyll's. Lanyon has never heard of Hyde, and not seen Jekyll for ten years. That night Utterson has terrible nightmares. He starts watching the door (which belongs to Dr Jekyll's old laboratory) at all hours, and eventually sees Hyde unlocking it. -
Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton. -
The Most Dangerous Man in England
ESSAI Volume 9 Article 7 4-1-2011 The oM st Dangerous Man in England Nicole Anderson College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Anderson, Nicole (2011) "The osM t Dangerous Man in England," ESSAI: Vol. 9, Article 7. Available at: http://dc.cod.edu/essai/vol9/iss1/7 This Selection is brought to you for free and open access by the College Publications at [email protected].. It has been accepted for inclusion in ESSAI by an authorized administrator of [email protected].. For more information, please contact [email protected]. Anderson: The Most Dangerous Man in England The Most Dangerous Man in England by Nicole Anderson (English 1102) he Victorian Era was a period marked by immense progress and tremendous achievement. Industry was booming, the economy was flourishing and gradually, society was changing T(Chakma). No single man was more aware of this fact than “the most dangerous man in England”: the English naturalist and biologist, Charles Darwin (Fichman 17). In 1859, Darwin first published his controversial work, The Origin of Species. He proposed that humans were the product of the evolution of a lower species, shaking the core of society. It was not the biological process of evolution that terrified the masses; it was what Victorians thought it suggested or predicted (Ape 2005). Evolutionary theory rewrote history and challenged their concepts of religion, morality, and social status. Robert Louis Stevenson’s novella, The Strange Case of Dr. Jekyll and Mr. Hyde, is a vehicle for the Victorian people’s exploration of Darwinian theory, its relevancy to their culture, and what the future may hold for the human species. -
Doctor-Who-S3-Ep8-Human-Nature.Pdf
INT. TARDIS - (PRE-TITLES) - DAY 9 All fast, hand held, the middle of an emergency. THE DOCTOR runs in, wild, wired, and as MARTHA runs in - THE DOCTOR Get down - ! She throws herself to the floor - FX: A LASER BEAM blisters through the open door - FX: small PRAC explosion as the FX beam hits the console - The Doctor slams the door shut, as Martha stands - from outside, the noise of more firing - THE DOCTOR (CONT'D) Did they see you? MARTHA I don't know - THE DOCTOR But did they see you? MARTHA I was too busy running - THE DOCTOR Martha, it's important, did they see your face? MARTHA No, they couldn't have, no - The Doctor turns to the console, Martha following - THE DOCTOR Off we go - He slams switches, the Tardis lurches into flight - But there's a beep from the scanner. The Doctor studies the reading; bad news. Dark: THE DOCTOR (CONT'D) They're following us. MARTHA How can they do that? You've got a time machine! THE DOCTOR Stolen technology. They've got a Time Agent's Vortex Manipulator, they can follow us wherever we go. Right across the universe... And they're never gonna stop. Unless... He searches his pockets, frantic. Finds a fob watch. DOCTOR ...I'll have to do it. He looks at her, both close, intent: THE DOCTOR Martha. You trust me, don't you? MARTHA Course I do. THE DOCTOR Cos it all depends on you. MARTHA What does? What am I supposed to do..? CU on the Doctor, Martha's POV, ie, to CAMERA: THE DOCTOR Take this watch. -
Here She Is ... Miss Bennett Move Not Only with New Many Artists Shy Away Firom Chilee’ Hailes Music but a New Look
NOVEMBER 4, 1993 • BENNETT BANNER • 3 D’CHERIPS MUSIC REVIEW Salt N' Pepa is back By D’Cherie Lofton platinum. Bennett Banner Salt N’ Pepa have been If you’re searching for in the rap scene since 1986 flavor, search no more. and maturity has encom Salt N* Pepa is serving passed an impact on all of mad flavor with their new them. release “Very Necessary.” ‘We have to be more The first single from the al serious about the future with bum “Shoop” is keeping the children. We have to think request lines hot. Along with about the future because you their all-star cut “Whatta have someone depending on man” which is a collabora you," Salt said. tion with the funky divas Their concern for the EnVouge, “VeryNecessary” future is evident by the pub- has all the makings of what Uc service announcements I call “phat jams,” from the included in their new album pulsing reggae groove of that deal with AIDS. (It's Salt N‘ Pepa is back on the scene with their new release "Shoop, Shoop, Shoop." “Groove Me” to “Somma performed by WEATOC, a Time Man” to “Bresdc of teen outreach/activism Dawn.” group from Boston.) The ladies are on the "It’s a subject than Here she is ... Miss Bennett move not only with new many artists shy away firom Chilee’ Hailes music but a new look. These when recording." ing." tured Tammi McCall, a se Banner Reporter three mothers, business Salt N’ Pepa are fac Penny Speas, chair nior communications major Splendor, elegance, women and performers are ing reahty and deeding with person of the English and who presented a dramatic beauty and grace are just a committed to having as it with the skit called “I’ve Foreign Language Depart reading of Nikki Giovanni’s few words that come to mind much control over their ca Got AIDS." ment, and Miss Bennett Col “Ego-Trippin." when one thinks of the Coro reers and their lives as pos Salt N’Pepa brought lege 1985-1986 said, “This One of the most touch nation of Miss Bennett Col sible. -
Genesys John Peel 78339 221 2 2 Timewyrm: Exodus Terrance Dicks
Sheet1 No. Title Author Words Pages 1 1 Timewyrm: Genesys John Peel 78,339 221 2 2 Timewyrm: Exodus Terrance Dicks 65,011 183 3 3 Timewyrm: Apocalypse Nigel Robinson 54,112 152 4 4 Timewyrm: Revelation Paul Cornell 72,183 203 5 5 Cat's Cradle: Time's Crucible Marc Platt 90,219 254 6 6 Cat's Cradle: Warhead Andrew Cartmel 93,593 264 7 7 Cat's Cradle: Witch Mark Andrew Hunt 90,112 254 8 8 Nightshade Mark Gatiss 74,171 209 9 9 Love and War Paul Cornell 79,394 224 10 10 Transit Ben Aaronovitch 87,742 247 11 11 The Highest Science Gareth Roberts 82,963 234 12 12 The Pit Neil Penswick 79,502 224 13 13 Deceit Peter Darvill-Evans 97,873 276 14 14 Lucifer Rising Jim Mortimore and Andy Lane 95,067 268 15 15 White Darkness David A McIntee 76,731 216 16 16 Shadowmind Christopher Bulis 83,986 237 17 17 Birthright Nigel Robinson 59,857 169 18 18 Iceberg David Banks 81,917 231 19 19 Blood Heat Jim Mortimore 95,248 268 20 20 The Dimension Riders Daniel Blythe 72,411 204 21 21 The Left-Handed Hummingbird Kate Orman 78,964 222 22 22 Conundrum Steve Lyons 81,074 228 23 23 No Future Paul Cornell 82,862 233 24 24 Tragedy Day Gareth Roberts 89,322 252 25 25 Legacy Gary Russell 92,770 261 26 26 Theatre of War Justin Richards 95,644 269 27 27 All-Consuming Fire Andy Lane 91,827 259 28 28 Blood Harvest Terrance Dicks 84,660 238 29 29 Strange England Simon Messingham 87,007 245 30 30 First Frontier David A McIntee 89,802 253 31 31 St Anthony's Fire Mark Gatiss 77,709 219 32 32 Falls the Shadow Daniel O'Mahony 109,402 308 33 33 Parasite Jim Mortimore 95,844 270 -
Nomadic Urbanities: Constant’S New Babylon and the Contemporary City
Graduate Journal of Asia-Pacific Studies 4:2 (2004), 29-52 Nomadic Urbanities: Constant’s New Babylon and the Contemporary City Julie NICHOLS Centre for Middle East and Asian Architecture (CAMEA), University of Adelaide, Australia. CONTEMPORARY URBAN environments are characterised by shifting relationships with place. A theoretical understanding of ‘place’, in the contemporary context, provides opportunities to investigate the conceptual dialectic of nomadity and urbanity. The concept of ‘nomadity’ includes in its scope both physical and virtual movement; the practice of traversing real space to the capacity of roaming in virtual space. Nomadity, therefore, signifies a dynamic and temporal relationship with locality, characteristic of contemporary urban populations. Urbanity, by comparison, is defined as ‘the state, condition, or character of a town or city’. 1 Understood in a contemporary sense, as signifying stasis by being settled in a place, urbanity becomes the antithesis of nomadity. The notions of town or city are often associated with a type of settlement. The historic connotations of the term settlement relate to fortification and safety as well as to an urban establishment fixed permanently in a desired place. 2 In this paper, nomadic urbanities are introduced to reflect on the rapidly evolving nature of urbanism in today’s globalised world. Nomadity, urbanity and travel are modern issues, and may be translated by city dwellers through imaginings, representations or as physical urban environments. This is not necessarily a trend related to specific regions, but can be localised by certain examples. The focus of this paper is the Southeast Asian city and how it is then situated within the global context. -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
Lyric, Affect, and Ethics in British and Irish Elegy, 1960
DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Nathaniel Myers _________________________________ Romana Huk, Director Graduate Program in English Notre Dame, Indiana July 2015 © Copyright by NATHANIEL MYERS 2015 All rights reserved DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 Abstract by Nathaniel Myers The elegy is a poetic genre situated between personal and public spheres. The critical literature of the genre often privileges one sphere over the other, whether it be the personal work of mourning undertaken by the elegist in writing the poem, or the public and cultural work of memorialization that is fundamental to the genre. My project examines the work of five poets – Geoffrey Hill, Seamus Heaney, Paul Muldoon, Medbh McGuckian, and Denise Riley – whose elegies require a distinct critical apparatus, one that considers the personal and the public jointly because these poets’ elegies trouble the very distinction between the two. In the ethical concerns voiced by the poets – which range from the aestheticization of death and violence to the potential profit motives (artistic, commercial) of writing elegy – as well as in the formal techniques that can either mitigate these ethical concerns or, in some cases, generate them, these elegies betray the inextricability of private and cultural modes of grief. Nathaniel Myers In order to bring disparate parts together – the personal and the private, the ethical and the aesthetic – I implement a critical methodology that uses as its central tool the notion of “linguistic affect,” which I define (slightly modifying Riley’s own definition) as “the force of language on the body,” a force made possible through language’s historically rich materiality. -
Selections from Criticism on Emily Dickinson
D. Campbell Critical Perspectives on Selected Poems by Emily Dickinson Overall Approaches to Dickinson 1. William Shullenberger, "My Class had stood--a Loaded Gun" (post-structuralist, Deconstructionist approach) Shullenberger tends to set aside the cultural and historical background; he also sees feminist critics as sometimes risking "a disproportionate attention to her femininity (Pollak; Mossberg; C. Miller)" and relying too heavily on biographical assumptions. Instead, he says, his "stress in introducing Dickinson is to put the legends, the intellectual background, and the assumptions aside, to begin only with the assumption that Dickinson a poet who took poetry very seriously, more seriously than anything else." 2. Christanne Miller, Emily Dickinson: A Poet's Grammar (linguistic and syntactic analysis) Miller focuses on what she calls the essential features of Dickinson's writing: punctuation, compression, nonrecoverable deletions (that is, material omitted or elided that cannot become clear from the context), lack of inflectional markings for verbs, disjunction, repetition, and unspecified or ambiguous pronouns. These, she says, create language patterns that are by choice disjunctive and unconventional to render Dickinson's meaning in the complex ways in which she intended it. 3. Cynthia Griffin Wolff, Emily Dickinson (psychobiographical). Wolff combines close readings with feminist psychobiographical insights. 4. Joan Burbick, "Dickinson and Economics of Desire" AL 58 (1986): 361-378. Through what may be called her "economics of desire," Dickinson describes longing in terms of poverty and wealth, loss and gain, producing poems that both mimic and deprecate the mercantilist vision of her social class. In general, Dickinson's writings can be seen as expressing four logical, not chronological, visions of desire that imply a specific theory of use or economy.