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DOCTOR WHO LOGOPOLIS Christopher H. Bidmead Based On
DOCTOR WHO LOGOPOLIS Christopher H. Bidmead Based on the BBC television serial by Christopher H. Bidmead by arrangement with the British Broadcasting Corporation 1. Events cast shadows before them, but the huger shadows creep over us unseen. When some great circumstance, hovering somewhere in the future, is a catastrophe of incalculable consequence, you may not see the signs in the small happenings that go before. The Doctor did, however - vaguely. While the Doctor paced back and forth in the TARDIS cloister room trying to make some sense of the tangle of troublesome thoughts that had followed him from Traken, in a completely different sector of the Universe, in a place called Earth, one such small foreshadowing was already beginning to unfold. It was a simple thing. A policeman leaned his bicycle against a police box, took a key from the breast pocket of his uniform jacket and unlocked the little telephone door to make a phone call. Police Constable Donald Seagrave was in a jovial mood. The sun was shining, the bicycle was performing perfectly since its overhaul last Saturday afternoon, and now that the water-main flooding in Burney Street was repaired he was on his way home for tea, if that was all right with the Super. It seemed to be a bad line. Seagrave could hear his Superintendent at the far end saying, 'Speak up . Who's that . .?', but there was this whirring noise, and then a sort of chuffing and groaning . The baffled constable looked into the telephone, and then banged it on his helmet to try to improve the connection. -
ENGL 279 Course Title: Science Fiction and Dystopic Literature Units
Course name: ENGL 279 Course title: Science Fiction and Dystopic Literature Units: 3 Course Description: This course is designed to increase students’ knowledge of the literary genre known as Science Fiction. Emphasis will be on the study of literature--novels and short fiction--that depicts our future world, visionary scientific endeavor, and conflicts between humans, aliens, and sentient technology. Students will study the history, exciting contemporary trends, and the relevant contemporary issues in Science Fiction, including dystopia vs. utopia, artificial intelligence, current theory concerning technology, cloning and physical science, human psychology in a futuristic environment, and the rise of Cyberpunk and new Alternate Reality literature within the genre. Prerequisites: Completion of ENGL 101 Course Objectives: l. Analyze the role of literature as a means of reflecting and shaping thought and behavior. 2. Recognize and employ literary terminology and the language of literary criticism. 3. Identify, interpret, and compare and contrast specific leitmotifs and character types of the Science Fiction genre. 4. Practice critical reading and writing skills. 5. Conduct research and synthesize material from outside the given text in developing a written or oral project. 6. Recognize the attributes that make literary works universal and timeless, as well as unique to certain genres. 7. Demonstrate the ability to discuss literature using relevant support from the text. 8. Evaluate a literary work objectively, being able to understand and analyze critical responses to the works read. Course Content: I. In discussing the roots of many essential elements of Science Fiction, the instructor will guide students in: A. Distinguishing the important archetypes of Science Fiction. -
Genesis Cosmology* Genesis Cosmology Is the Cosmology Model in Agreement with the Interpretive Description of the First Three Da
Genesis Cosmology* Genesis Cosmology is the cosmology model in agreement with the interpretive description of the first three days in Genesis. Genesis Cosmology is derived from the unified theory that unifies various phenomena in our universe. In Genesis, the first day involves the emergence of the separation of light and darkness from the formless, empty, and dark pre-universe, corresponding to the emergence of the current asymmetrical dual universe of the light universe with light and the dark universe without light from the simple and dark pre-universe in Genesis Cosmology. The light universe is the current observable universe, while the dark universe coexisting with the light universe is first separated from the light universe and later connected with the light universe as dark energy. In Genesis, the second day involves the separation of waters from above and below the expanse, corresponding to the separation of dark matter and baryonic matter from above and below the interface between dark matter and baryonic matter for the formation of galaxies in Genesis Cosmology. In Genesis, the third day involves the separation of sea and land where organisms appeared, corresponding to the separation of interstellar medium and star with planet where organisms were developed in Genesis Cosmology. The unified theory for Genesis Cosmology unifies various phenomena in our observable universe and other universes. In terms of cosmology, our universe starts with the 11-dimensional membrane universe followed by the 10-dimensional string universe and then by the 10-dimensional particle universe, and ends with the asymmetrical dual universe with variable dimensional particle and 4-dimensional particles. -
Chapterhouse: Dune Frank Herbert April 1985 Those Who Would Repeat
Chapterhouse: Dune Frank Herbert April 1985 Those who would repeat the past must control the teaching of history. -Bene Gesserit Coda When the ghola-baby was delivered from the first Bene Gesserit axlotl tank, Mother Superior Darwi Odrade ordered a quiet celebration in her private dining room atop Central. It was barely dawn, and the two other members of her Council -- Tamalane and Bellonda -- showed impatience at the summons, even though Odrade had ordered breakfast served by her personal chef. "It isn't every woman who can preside at the birth of her own father," Odrade quipped when the others complained they had too many demands on their time to permit of "time-wasting nonsense." Only aged Tamalane showed sly amusement. Bellonda held her over-fleshed features expressionless, often her equivalent of a scowl. Was it possible, Odrade wondered, that Bell had not exorcised resentment of the relative opulence in Mother Superior's surroundings? Odrade's quarters were a distinct mark of her position but the distinction represented her duties more than any elevation over her Sisters. The small dining room allowed her to consult aides during meals. Bellonda glanced this way and that, obviously impatient to be gone. Much effort had been expended without success in attempts to break through Bellonda's coldly remote shell. "It felt very odd to hold that baby in my arms and think: This is my father," Odrade said. "I heard you the first time!" Bellonda spoke from the belly, almost a baritone rumbling as though each word caused her vague indigestion. She understood Odrade's wry jest, though. -
Dark Council of the Sith Empire
The Force Shall Free Me Dark Council of the Sith Empire “Peace is a lie; there is only passion. Through passion, I gain strength. Through strength, I gain power. Through power, I gain victory. Through victory, my chains are broken. The Force shall free me.” —The Sith Code Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 6 History .................................................................................................................. 6 Imperial Government Structure ............................................................................. 8 Key Planets to Know ............................................................................................. 8 Topics for Discussion ..................................................................................................... 10 Imperial Alliances ................................................................................................ 10 Sith and Non-Sith ................................................................................................ 12 Corruption .......................................................................................................... 14 Positions ....................................................................................................................... -
Star Wars: the Fascism Awakens Representation and Its Failure from the Weimar Republic to the Galactic Senate Chapman Rackaway University of West Georgia
STAR WARS: THE FASCISM AWAKENS 7 Star Wars: The Fascism Awakens Representation and its Failure from the Weimar Republic to the Galactic Senate Chapman Rackaway University of West Georgia Whether in science fiction or the establishment of an earthly democracy, constitutional design matters especially in the realm of representation. Democracies, no matter how strong or fragile, can fail under the influence of a poorly constructed representation plan. Two strong examples of representational failure emerge from the post-WWI Weimar Republic and the Galactic Republic’s Senate from the Star Wars saga. Both legislatures featured a combination of overbroad representation without minimum thresholds for minor parties to be elected to the legislature and multiple non- citizen constituencies represented in the body. As a result both the Weimar Reichstag and the Galactic Senate fell prey to a power-hungry manipulating zealot who used the divisions within their legislature to accumulate power. As a result, both democracies failed and became tyrannical governments under despotic leaders who eventually would be removed but only after wars of massive casualties. Representation matters, and both the Weimer legislature and Galactic Senate show the problems in designing democratic governments to fairly represent diverse populations while simultaneously limiting the ability of fringe groups to emerge. “The only thing necessary for the triumph of representative democracies. A poor evil is for good men to do nothing.” constitutional design can even lead to tyranny. – Edmund Burke (1848) Among the flaws most potentially damaging to a republic is a faulty representational “So this is how liberty dies … with structure. Republics can actually build too thunderous applause.” - Padme Amidala (Star much representation into their structures, the Wars: Episode III Revenge of the Sith, 2005) result of which is tyranny as a byproduct of democratic failure. -
A History of the Future David J. Staley
History and Theory,Theme Issue 41 (December 2002), 72-89 ? Wesleyan University 2002 ISSN: 0018-2656 A HISTORYOF THE FUTURE DAVIDJ. STALEY ABSTRACT Does history have to be only about the past? "History"refers to both a subject matterand a thoughtprocess. That thoughtprocess involves raising questions, marshallingevidence, discerningpatterns in the evidence, writing narratives,and critiquingthe narrativeswrit- ten by others. Whatever subject matter they study, all historians employ the thought process of historicalthinking. What if historianswere to extend the process of historicalthinking into the subjectmat- ter domain of the future?Historians would breach one of our profession's most rigid dis- ciplinarybarriers. Very few historiansventure predictions about the future, and those who do are viewed with skepticism by the profession at large. On methodological grounds, most historiansreject as either impractical,quixotic, hubristic,or dangerousany effort to examine the past as a way to make predictionsabout the future. However, where at one time thinking about the future did mean making a scientifical- ly-based prediction,futurists today arejust as likely to think in terms of scenarios.Where a predictionis a definitive statementabout what will be, scenarios are heuristicnarratives that explore alternativeplausibilities of what might be. Scenario writers, like historians, understandthat surprise,contingency, and deviations from the trend line are the rule, not the exception; among scenario writers, context matters.The thought process of the sce- nario method shares many features with historical thinking. With only minimal intellec- tual adjustment,then, most professionally trainedhistorians possess the necessary skills to write methodologicallyrigorous "historiesof the future." History, according to Kevin Reilly, is both a noun and a verb.' By this Reilly means that "history" refers to both a subject matter-a body of knowledge-and a thought process, a disciplined habit of mind. -
Fudge Space Opera
Fudge Space Opera Version 0.3.0 2006-August-11 by Omar http://www.pobox.com/~rknop/Omar/fudge/spop Coprights, Trademarks, and Licences Fudge Space Opera is licenced under the Open Gaming Licence, version 1.0a; see Appendex A. Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc. Fudge System Reference Document Copyright 2005, Grey Ghost Press, Inc.; Authors Steffan O’Sullivan, Ann Dupuis, with additional material by other authors as indicated within the text. Available for use under the Open Game License (see Appendix I) Fudge Space Opera Copyright 2005, Robert A. Knop Jr. Open Gaming Content Designation of Product Identity: Nothing herein is designated as Product Identity as outlined in section 1(e) of the Open Gaming License. Designation of Open Gaming Content: Everything herein is designated as Open Game Content as outlined in seciton 1(d) of the Open Gaming License. Fudge Space Opera -ii- Fudge Space Opera CONTENTS Contents 1 Introduction 1 1.1 Why “Space Opera”? . ......... 1 1.2 WhatisHere ........................................ .......... 2 1.3 TheMostImportantThing .............................. ............ 2 2 Character Creation 3 2.1 GeneralNotes........................................ .......... 3 2.2 5-PointFudge....................................... ........... 3 3 Combat 7 3.1 Default Combat Options . .......... 7 3.2 Basic Armor and Weapon Mechanics . ........... 7 3.3 Cross-WeaponScaleAttacks. .............. 8 3.4 Suggested Weapon Scales . ........ 9 3.5 DamagetoPassengers ................................. ............ 9 3.6 GiantSpaceBeasts.................................... ........... 9 3.7 When To Use Fudge Scale .......................................... 10 3.8 RangedWeapons....................................... ......... 11 3.9 Explosions........................................ ............ 12 3.10 Missiles and Point Defense . .............. 12 -iii- Fudge Space Opera CONTENTS 3.11 Doing Too Many Things at Once . -
Living in the Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture
Living in The Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture Kacmaz Erk, G. (2016). Living in The Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture. The International Journal of New Media, Technology and the Arts, 13-25. Published in: The International Journal of New Media, Technology and the Arts Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2016 Gul Kacmaz Erk. Available under the terms and conditions of the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License (CC BY-NC-ND 4.0). The use of this material is permitted for non-commercial use provided the creator(s) and publisher receive attribution. No derivatives of this version are permitted. Official terms of this public license apply as indicated here: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. -
Newtonian Wormholes
Newtonian wormholes José P. S. Lemos∗ and Paulo Luz† Centro Multidisciplinar de Astrofísica - CENTRA, Departamento de Física, Instituto Superior Técnico - IST, Universidade de Lisboa - UL, Av. Rovisco Pais 1, 1049-001 Lisboa, Portugal Abstract A wormhole solution in Newtonian gravitation, enhanced through an equation relating the Ricci scalar to the mass density, is presented. The wormhole inhabits a spherically symmetric curved space, with one throat and two asymptotically flat regions. Particle dynamics in this geometry is studied, and the three distinct dynamical radii, namely, the geodesic, circumferential, and curvature radii, appear naturally in the study of circular motion. Generic motion is also analysed. A limiting case, although inconclusive, suggests the possibility of having a Newtonian black hole in a region of finite (nonzero) size. arXiv:1409.3231v1 [gr-qc] 10 Sep 2014 ∗ [email protected] † [email protected] 1 I. INTRODUCTION When many alternative theories to general relativity are being suggested, and the grav- itational field is being theoretically and experimentally put to test, it is interesting to try an alternative to Newton’s gravitation through an unexpected but simple modification of it. The idea is to have Newtonian gravitation, not in flat space, as we are used to, but in curved space. This intriguing possibility has been suggested by Abramowicz [1]. It was noted that Newtonian gravitation in curved space, and the corresponding Newtonian dy- namics in a circle, distinguishes three radii, namely, the geodesic radius (which gives the distance from the center to its perimeter), the circumferential radius (which is given by the perimeter divided by 2π), and the curvature radius (which is Frenet’s radius of curvature of a curve, in this case a circle). -
Dr Who Pdf.Pdf
DOCTOR WHO - it's a question and a statement... Compiled by James Deacon [2013] http://aetw.org/omega.html DOCTOR WHO - it's a Question, and a Statement ... Every now and then, I read comments from Whovians about how the programme is called: "Doctor Who" - and how you shouldn't write the title as: "Dr. Who". Also, how the central character is called: "The Doctor", and should not be referred to as: "Doctor Who" (or "Dr. Who" for that matter) But of course, the Truth never quite that simple As the Evidence below will show... * * * * * * * http://aetw.org/omega.html THE PROGRAMME Yes, the programme is titled: "Doctor Who", but from the very beginning – in fact from before the beginning, the title has also been written as: “DR WHO”. From the BBC Archive Original 'treatment' (Proposal notes) for the 1963 series: Source: http://www.bbc.co.uk/archive/doctorwho/6403.shtml?page=1 http://aetw.org/omega.html And as to the central character ... Just as with the programme itself - from before the beginning, the central character has also been referred to as: "DR. WHO". [From the same original proposal document:] http://aetw.org/omega.html In the BBC's own 'Radio Times' TV guide (issue dated 14 November 1963), both the programme and the central character are called: "Dr. Who" On page 7 of the BBC 'Radio Times' TV guide (issue dated 21 November 1963) there is a short feature on the new programme: Again, the programme is titled: "DR. WHO" "In this series of adventures in space and time the title-role [i.e. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot.