DOCSLIB.ORG

Digital Dissonance: Horror Cultures in the Age of Convergent Technologies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Dissonance: Horror Cultures in the Age of Convergent Technologies DIGITAL DISSONANCE: HORROR CULTURES IN THE AGE OF CONVERGENT TECHNOLOGIES by DANIEL POWELL M.A. Portland State University, 2002 B.S. Linfield College, 1999 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Texts & Technology in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2017 Major Professor: Rudy McDaniel © 2017 Daniel Powell ii ABSTRACT The first two decades of the new millennium have witnessed an abundance of change in the areas of textual production, digital communication, and our collective engagement with the Internet. This study explores these changes, which have yielded both positive and negative cultural and developmental outcomes, as products of digital dissonance. Dissonance is characterized by the disruptive consequences inherent in technology’s incursion into the print publication cultures of the twentieth century, the explosion in social-media interaction that is changing the complexion of human contact, and our expanding reliance on the World Wide Web for negotiating commerce, culture, and communication. This study explores digital dissonance through the prism of an emerging literary subgenre called technohorror. Artists working in the area of technohorror are creating works that leverage the qualities of plausibility, mundanity, and surprise to tell important stories about how technology is altering the human experience in the twenty-first century. This study explores such subjects as paradigmatic changes in textual production methods, dynamic authorial hybridity, digital materiality in folklore studies, posthumanism, transhumanism, cognitive diminution, and physical degeneration as explored in works of technohorror. The work’s rhetorical architecture includes elements of both theoretical and qualitative research. This project expands on City University of New York philosophy professor Noël Carroll’s definition of art-horror in developing a formal explanation of technohorror and then exploring that literary subgenre through the analysis of a series of contemporary texts and industry-related trends. The study also contains original interviews with active scholars, artists, editors, and librarians in the horror field to gain a variety of perspectives on these complicated subjects. iii for Dave and Lori iv ACKNOWLEDGMENTS For their encouragement, feedback, and guidance on this project, I would like to thank Dr. Michael Arnzen, Dr. Martha Brenckle, Dr. James Campbell, and Dr. Rudy McDaniel. I am also deeply indebted to those that were willing to answer questions for this study. Ken Liu, Ellen Datlow, Michael Morrison, Tony Magistrale, Dale Bailey, Kij Johnson, Nick Mamatas, Kirsten Kowalewski, Lisa Indigo, and Angel Leigh McCoy provided insights and observations that keenly critique the current state of horror while speculating on what the near future may hold for the field. v TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................................... viii LIST OF TABLES ......................................................................................................................... ix PREFACE ....................................................................................................................................... 1 THE NATURE OF TECHNOHORROR........................................................................................ 8 A Taxonomy of the Horrific ............................................................................................. 13 Toward a Definition of Technohorror............................................................................... 34 On the Nature of Medium, Production, and Content ........................................................ 39 PIONEERING PLATFORMS: IMAGINATION, INVENTION, AND INNOVATION IN HORROR CULTURES ................................................................................................................ 47 Interview Findings and the Evolving Digital Paradigm ................................................... 68 Exploring an Eternal Narrative ......................................................................................... 76 FROM FOLKLORE TO NETLORE: ESOTERIC DIGITAL CULTURES AND THE REMEDIATION OF HORRIFIC FOLK NARRATIVES ........................................................... 79 Folklore as Meaningful Communication in Digital Contexts ......................................... 107 TRANSCENDENCE IN TECHNOHORROR: DIGITAL DISSONANCE AND THE DENATURED HUMAN ............................................................................................................ 109 Posthumanism: Speculating Beyond the Human Individual .......................................... 115 Degeneration: Overcoming the Broken Body ................................................................. 126 Transcendence: Rejecting the Body for the Machine ..................................................... 131 Reconnecting with Our Human Heritage ........................................................................ 139 TECHNOHORROR AND THE HUMAN CONDITION: SEARCHING FOR MEANING IN A RAPIDLY CHANGING CULTURE ......................................................................................... 142 Technologies of Terror and the Loss of the Self............................................................. 146 vi Navigating the Paradox of Progressive Science and Natural Aging ............................... 160 Toward a Healthy Approach to Life and Longevity ....................................................... 167 PROGRAMMING NIGHTMARES: TECHNOHORROR AND LIFE IN THE TWENTY-FIRST CENTURY .................................................................................................................................. 171 Interview Findings and Assessing Horror in the Twenty-First Century ......................... 174 Recognizing the Dilemma ............................................................................................... 179 Finding a Way Forward .................................................................................................. 184 APPENDIX A: INTERVIEW TRANSCRIPT, DR. DALE BAILEY ....................................... 195 APPENDIX B: INTERVIEW TRANSCRIPT, LISA INDIGO ................................................. 198 APPENDIX C: INTERVIEW TRANSCRIPT, KIJ JOHNSON ................................................ 201 APPENDIX D: INTERVIEW TRANSCRIPT, KIRSTEN KOWALEWSKI ............................ 204 APPENDIX E: INTERVIEW TRANSCRIPT, KEN LIU .......................................................... 210 APPENDIX F: INTERVIEW TRANSCRIPT, DR. TONY MAGISTRALE ............................ 215 APPENDIX G: INTERVIEW TRANSCRIPT, NICK MAMATAS .......................................... 218 APPENDIX H: INTERVIEW TRANSCRIPT, ANGEL LEIGH MCCOY ............................... 224 APPENDIX I: INTERVIEW TRANSCRIPT, DR. MICHAEL MORRISON ........................... 228 APPENDIX J: COPYRIGHT INFORMATION ........................................................................ 232 REFERENCES ........................................................................................................................... 237 vii LIST OF FIGURES Figure 1: Mr. Karswell’s Magic Lantern Show, art by Paul Boswell ........................................... 26 Figure 2: Weird Tales, 1942, art by Edmond Good ...................................................................... 41 Figure 3: Herobrine’s first appearance, n.d., Minecraft Fanon Wiki .......................................... 101 Figure 4: Cell, Scribner, 2006, artwork by Mark Stutzman ........................................................ 152 Figure 5: They Live, 1988, dir. John Carpenter ........................................................................... 154 viii LIST OF TABLES Table 1: Taxonomy of the Horrific ............................................................................................... 18 Table 2: Popular Vampire Narratives Through Time and Across Media ..................................... 77 Table 3: Diffusion of News Posts to Platforms, Tow Center for Digital Journalism ................... 87 Table 4: Posts to Platforms by Publication, Tow Center for Digital Journalism .......................... 87 Table 5: Popular Vernacular Webs Covering Horror Culture ...................................................... 90 ix PREFACE The law of acceleration hurtles us into the inscrutable future. But it cannot wipe the slate of the past. History haunts even generations who refuse to learn history. Rhythms, patterns, continuities, drift out of time long forgotten to mold the present and to color the shape of things to come. Science and technology revolutionize our lives, but memory, tradition, and myth frame our response. Expelled from individual consciousness by the rush of change, history finds its revenge by stamping the collective unconscious with habits, values, expectations, dreams. The dialectic between past and future will continue to form our lives. ~ Arthur Schlesinger, Jr., The Cycles of American History The careful study of texts and technology yields critical insights into the histories and social architectures of various cultures, for these closely connected domains often disclose how societies communicate, dream, and evolve. By scrutinizing the development of language and communication, for instance, we can critically analyze stories
Load more

Recommended publications
  • FANTASY FAIRE 19 81 of Fc Available for $4.00 From: TRISKELL PRESS P
    FANTASY FAIRE 19 81 of fc Available for $4.00 from: TRISKELL PRESS P. 0. Box 9480 Ottawa, Ontario Canada K1G 3V2 J&u) (B.Mn'^mTuer KOKTAL ADD IHHOHTAl LOVERS TRAPPED Is AS ASCIEST FEUD... 11th ANNUAL FANTASY FAIRS JULY 17, 18, 19, 1981 AMFAC HOTEL MASTERS OF CEREMONIES STEPHEN GOLDIN, KATHLEEN SKY RON WILSON CONTENTS page GUEST OF HONOR ... 4 ■ GUEST LIST . 5 WELCOME TO FANTASY FAIRE by’Keith Williams’ 7 PROGRAM 8 COMMITTEE...................... .. W . ... .10 RULES FOR BEHAVIOR 10 WALKING GUIDE by Bill Conlln 12 MAP OF AREA ........................................................ UPCOMING FPCI CONVENTIONS 14 ADVERTISERS Triskell Press Barry Levin Books Pfeiffer's Books & Tiques Dangerous Visions Cover Design From A Painting By Morris Scott Dollens GUEST OF HONOR FRITZ LEIBER was bom in 1910. Son of a Shakespearean actor, Fritz was at one time an actor himself and a mem­ ber of his father’s troupe. He made a cameo appearance in the film "Equinox." Fritz has studied many sciences and was once editor of Science Digest. His writing career began prior to World War 11 with some stories in Weird Tales. Soon Unknown published his novel "Conjure Wife, " which was made into a movie under the title (of all things) "Bum, Witch, Bum!" His Gray Mouser stories (which were the inspira­ tion for the Fantasy Faire "Fritz Leiber Fantasy Award") were started in Unknown and continued in Fantastic, which magazine devoted its entire Nov., 1959 issue to Fritz's stories. In 1959 Fritz was awarded a Hugo, by the World Science Fiction Convention for his novel "The Big Time." His novel "The Wanderer," about an interloper into our solar system, won the Hugo again in 1965.'-His novelettes Gonna Roll the Bones," "Ship of Shadows" and "Ill Met in Lankhmar” won the Hugo in 1968, 1970 and 1971 in that order.
    [Show full text]
  • Depopulation: on the Logic of Heidegger's Volk
    Research research in phenomenology 47 (2017) 297–330 in Phenomenology brill.com/rp Depopulation: On the Logic of Heidegger’s Volk Nicolai Krejberg Knudsen Aarhus University [email protected] Abstract This article provides a detailed analysis of the function of the notion of Volk in Martin Heidegger’s philosophy. At first glance, this term is an appeal to the revolutionary mass- es of the National Socialist revolution in a way that demarcates a distinction between the rootedness of the German People (capital “P”) and the rootlessness of the modern rabble (or people). But this distinction is not a sufficient explanation of Heidegger’s position, because Heidegger simultaneously seems to hold that even the Germans are characterized by a lack of identity. What is required is a further appropriation of the proper. My suggestion is that this logic of the Volk is not only useful for understanding Heidegger’s thought during the war, but also an indication of what happened after he lost faith in the National Socialist movement and thus had to make the lack of the People the basis of his thought. Keywords Heidegger – Nazism – Schwarze Hefte – Black Notebooks – Volk – people Introduction In § 74 of Sein und Zeit, Heidegger introduces the notorious term “the People” [das Volk]. For Heidegger, this term functions as the intersection between phi- losophy and politics and, consequently, it preoccupies him throughout the turbulent years from the National Socialist revolution in 1933 to the end of WWII in 1945. The shift from individual Dasein to the Dasein of the German People has often been noted as the very point at which Heidegger’s fundamen- tal ontology intersects with his disastrous political views.
    [Show full text]
  • Argentuscon Had Four Panelists Piece, on December 17
    Matthew Appleton Georges Dodds Richard Horton Sheryl Birkhead Howard Andrew Jones Brad Foster Fred Lerner Deb Kosiba James D. Nicoll Rotsler John O’Neill Taral Wayne Mike Resnick Peter Sands Steven H Silver Allen Steele Michael D. Thomas Fred Lerner takes us on a literary journey to Portugal, From the Mine as he prepared for his own journey to the old Roman province of Lusitania. He looks at the writing of two ast year’s issue was published on Christmas Eve. Portuguese authors who are practically unknown to the This year, it looks like I’ll get it out earlier, but not Anglophonic world. L by much since I’m writing this, which is the last And just as the ArgentusCon had four panelists piece, on December 17. discussing a single topic, the first four articles are also on What isn’t in this issue is the mock section. It has the same topic, although the authors tackled them always been the most difficult section to put together and separately (mostly). I asked Rich Horton, John O’Neill, I just couldn’t get enough pieces to Georges Dodds, and Howard Andrew Jones make it happen this issue. All my to compile of list of ten books each that are fault, not the fault of those who sent out of print and should be brought back into me submissions. The mock section print. When I asked, knowing something of may return in the 2008 issue, or it may their proclivities, I had a feeling I’d know not. I have found something else I what types of books would show up, if not think might be its replacement, which the specifics.
    [Show full text]
  • JUDITH MERRIL-PDF-Sep23-07.Pdf (368.7Kb)
    JUDITH MERRIL: AN ANNOTATED BIBLIOGRAPHY AND GUIDE Compiled by Elizabeth Cummins Department of English and Technical Communication University of Missouri-Rolla Rolla, MO 65409-0560 College Station, TX The Center for the Bibliography of Science Fiction and Fantasy December 2006 Table of Contents Preface Judith Merril Chronology A. Books B. Short Fiction C. Nonfiction D. Poetry E. Other Media F. Editorial Credits G. Secondary Sources About Elizabeth Cummins PREFACE Scope and Purpose This Judith Merril bibliography includes both primary and secondary works, arranged in categories that are suitable for her career and that are, generally, common to the other bibliographies in the Center for Bibliographic Studies in Science Fiction. Works by Merril include a variety of types and modes—pieces she wrote at Morris High School in the Bronx, newsletters and fanzines she edited; sports, westerns, and detective fiction and non-fiction published in pulp magazines up to 1950; science fiction stories, novellas, and novels; book reviews; critical essays; edited anthologies; and both audio and video recordings of her fiction and non-fiction. Works about Merill cover over six decades, beginning shortly after her first science fiction story appeared (1948) and continuing after her death (1997), and in several modes— biography, news, critical commentary, tribute, visual and audio records. This new online bibliography updates and expands the primary bibliography I published in 2001 (Elizabeth Cummins, “Bibliography of Works by Judith Merril,” Extrapolation, vol. 42, 2001). It also adds a secondary bibliography. However, the reasons for producing a research- based Merril bibliography have been the same for both publications. Published bibliographies of Merril’s work have been incomplete and often inaccurate.
    [Show full text]
  • Season 5 Article
    N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s.
    [Show full text]
  • Between Heidegger and Derrida: on the Impossible Futures of Techne
    KIR KUIKEN Between Heidegger and Derrida: On the Impossible Futures of Techne This paper is not the first to interrogate the term “legacies” in the title of this conference, implying as it does the vast problems of inheritance, of debt and even of mourning. A conference on the “Legacies of Theory” necessarily provokes a meditation on the notion of “legacy” itself. What I do not wish to take issue with in this term is what is implied by the plural: “legacies.” If the concept of “legacy” implies inheritance, then there is the possibility of inheritance only where its contingencies are multiple, contested and even contradictory. This multiplicity is in fact the precondition of inheriting, its very chance or possibility. What I do want to contest, however, is a certain relation to time that the term “legacies” implies. At a moment when the term “post-theory” has entered the academic lexicon, and when books with titles such as Life After Theory (Derrida et al.)1 have begun to mark its retreat or displacement within the institution, the term “legacies” risks collusion with a discourse that seeks to extirpate any real encounter with its “legacy,” multiple, contested or otherwise. And if I might be permitted to replace the term “theory” with the term “deconstruction,” the problematic nature of the concept of “legacy” makes itself clearer. Insofar as the term “legacy” implies a certain “temporality of presence,” with a clear, single, undivided border 1 The book contains an interview with Derrida, who addresses the question of “what comes after” theory very differently than the other contributors.
    [Show full text]
  • Atmospheric Optics
    53 Atmospheric Optics Craig F. Bohren Pennsylvania State University, Department of Meteorology, University Park, Pennsylvania, USA Phone: (814) 466-6264; Fax: (814) 865-3663; e-mail: [email protected] Abstract Colors of the sky and colored displays in the sky are mostly a consequence of selective scattering by molecules or particles, absorption usually being irrelevant. Molecular scattering selective by wavelength – incident sunlight of some wavelengths being scattered more than others – but the same in any direction at all wavelengths gives rise to the blue of the sky and the red of sunsets and sunrises. Scattering by particles selective by direction – different in different directions at a given wavelength – gives rise to rainbows, coronas, iridescent clouds, the glory, sun dogs, halos, and other ice-crystal displays. The size distribution of these particles and their shapes determine what is observed, water droplets and ice crystals, for example, resulting in distinct displays. To understand the variation and color and brightness of the sky as well as the brightness of clouds requires coming to grips with multiple scattering: scatterers in an ensemble are illuminated by incident sunlight and by the scattered light from each other. The optical properties of an ensemble are not necessarily those of its individual members. Mirages are a consequence of the spatial variation of coherent scattering (refraction) by air molecules, whereas the green flash owes its existence to both coherent scattering by molecules and incoherent scattering
    [Show full text]
  • Reviews: Ed Mcknight Fiction Reviews: Philip Snyder
    #261 Nov.-Dec. 2002 Coeditors: Christine Mains Shelley Rodrigo Blanchard Nonfiction Reviews: Ed McKnight Fiction Reviews: Philip Snyder The SFRAReview (ISSN IN THIS ISSUE: 1068-395X) is published six times a year by the Science Fiction Research Association (SFRA) and distributed SFRA Business to SFRA members.NONNON Individual issues are not for sale; however, starting with President’s Message 2 issue #256, all issues will be pub- lished to SFRA’s website no less than two months after paper publication. For information about the SFRA and Non Fiction Reviews its benefits, see the description at the Monsters from the Id 2 back of this issue. For a membership The Frankenstein Archive 5 application, contact SFRA Treasurer Reference Guide to Science Fiction, Dave Mead or get one from the SFRA website: <www.sfra.org>. Fantasy, and Horror 6 Encyclopedia of Pulp Fiction Writers 7 SUBMISSIONS Zamiatin Examined 9 The SFRAReview editors encourage submissions, including essays, review Speculative, essays that cover several related texts, Illustrated Future Histories 9 and interviews. Please send submis- sions or queries to both coeditors. If you would like to review nonfiction or fiction, please contact the Fiction Reviews respective editor and/or email A Woman’s Liberation 9 [email protected]. Coyote 11 Christine Mains, Coeditor Sorcery Rising 12 Box 66024 The Great Escape 13 Calgary, AB T2N 1N4 The Great Escape 13 <[email protected]> Dimensions of Sheckley 14 The Omega Expedition 15 Shelley Rodrigo Blanchard, Coeditor 6842 S. 40th Place The Fantasy Writer’s Assistant 17 Phoenix, AZ 85040 Leviathan Three 19 <[email protected]> Ed McKnight, Nonfiction Editor 113 Cannon Lane Taylors SC 29687 <[email protected]> Philip Snyder, Fiction Editor 109 Northumberland Road Rochester NY 14618 <[email protected]> SFRA BUSINESS 2 President’s Message Michael M.
    [Show full text]
  • Nominations1
    Section of the WSFS Constitution says The complete numerical vote totals including all preliminary tallies for rst second places shall b e made public by the Worldcon Committee within ninety days after the Worldcon During the same p erio d the nomination voting totals shall also b e published including in each category the vote counts for at least the fteen highest votegetters and any other candidate receiving a numb er of votes equal to at least ve p ercent of the nomination ballots cast in that category The Hugo Administrator reports There were valid nominating ballots and invalid nominating ballots There were nal ballots received of which were valid Most of the invalid nal ballots were electronic ballots with errors in voting which were corrected by later resubmission by the memb ers only the last received ballot for each memb er was counted Best Novel 382 nominating ballots cast 65 Brasyl by Ian McDonald 58 The Yiddish Policemens Union by Michael Chab on 58 Rol lback by Rob ert J Sawyer 41 The Last Colony by John Scalzi 40 Halting State by Charles Stross 30 Harry Potter and the Deathly Hal lows by J K Rowling 29 Making Money by Terry Pratchett 29 Axis by Rob ert Charles Wilson 26 Queen of Candesce Book Two of Virga by Karl Schro eder 25 Accidental Time Machine by Jo e Haldeman 25 Mainspring by Jay Lake 25 Hapenny by Jo Walton 21 Ragamun by Tobias Buckell 20 The Prefect by Alastair Reynolds 19 The Name of the Wind by Patrick Rothfuss Best Novella 220 nominating ballots cast 52 Memorare by Gene Wolfe 50 Recovering Ap ollo
    [Show full text]
  • Reading Heidegger As an Immigrant, Or 'Displacing Dasein'
    Reading Heidegger as an immigrant, or ‘displacing Dasein’: the phenomenological implications of displacement Mersiye Bora Thesis submitted to Royal Holloway, University of London for the degree of Doctor of Philosophy School of Politics, International Relations, and Philosophy 2017 1 Declaration of authorship I, Mersiye Bora, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Mersiye Bora September, 2017 2 Abstract In Being and Time, Heidegger demands that readers reflect on their own experiences. As a response to this demand, I argue that the experience of displacement is missing from Heidegger’s existential analytic of Dasein, and that the phenomenon of displacement creates a rich discussion between Heidegger’s fundamental ontology and his later writings on art and technology. The task of this work is to establish a dialogue between Heidegger’s writings and the phenomenon of displacement. This thesis is a product of thinking about displacement through Heidegger, and thinking of Heidegger through displacement. The first chapter describes how the meaning of immigration as displacement is effaced in everyday political discourse and quantitative approaches, which have an ontological ground in traditional metaphysics. The second chapter explores Heidegger’s phenomenological ontology through his criticism of western ontology, which allows me to show how displacement becomes a philosophical problem. The chapter further argues that the displaced is Dasein, who has lost the world in which it lives and thereby has become homeless. It also considers the primordial homelessness of Dasein, which shows itself in anxiety, and the homelessness of the displaced.
    [Show full text]
  • Rethinking the German Nation As German Dasein: Intellectuals And
    Rethinking the German nation as German Dasein: intellectuals and Heidegger’s philosophy in contemporary German New Right nationalism LSE Research Online URL for this paper: http://eprints.lse.ac.uk/100049/ Version: Accepted Version Article: Göpffarth, Julian (2020) Rethinking the German nation asGerman Dasein: intellectuals and Heidegger’s philosophy in contemporary German New Right nationalism. Journal of Political Ideologies. ISSN 1356-9317 https://doi.org/10.1080/13569317.2020.1773068 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Rethinking the German nation as German Dasein: Intellectuals and Heidegger’s philosophy in contemporary German New Right nationalism This is a preliminary version of an article whose final and definite form will be published in The Journal of Political Ideologies, © Informa UK Limited, trading as Taylor & Francis Group. Julian Göpffarth European Institute, London School of Economics and Political Science Address: 30-32 Dresden Road, N19 3BD London Email: [email protected] Phone: 07743540890 Twitter: @JGopffarth LinkedIn: Julian Göpffarth Abstract Most scholarship on far-right parties focuses on populism while largely ignoring the role of intellectualism. Disregarding the increasing support by well-educated voters, much of this literature appears to presume that populism and intellectualism in the far-right are separate rather than complementary phenomena.
    [Show full text]
  • References: Snel's Law and Refraction Index of Refraction For
    ESCI 340 - Cloud Physics and Precipitation Processes Lesson 13 - Atmospheric Optical Phenomena Dr. DeCaria References: One of the best sources for information about atmospheric optics is the Atmospheric Optics website, http://www.atoptics.co.uk Snel's Law and Refraction • The index of refraction for a medium is defined as m = c=c;~ (1) where c is the speed of light in a vacuum, andc ~ is the speed of light in the medium.1 • As light passes from one medium into another, there is both reflection and refraction. • Refraction occurs because the wave fronts bend as they cross from one medium into another, causing a ray of light to bend. The ray bends toward the medium that has the slower speed of light (highest index of refraction). • The bending of the ray is quantified by Snel's Law, which is stated mathematically as sin θ m 1 = 2 ; (2) sin θ2 m1 where θ1 is the angle of incidence (and reflection), θ2 is the angle of refraction, and m1 and m2 are the indices of refraction in the two mediums (see Fig. 1). • The amount by which a ray of light is deflected due to refraction can be quantified in one of two ways. { The bending angle, θ0, is the interior angle between the initial and final rays. { The deviation angle, θ00, is the complement of the bending angle, θ00 = 180◦ −θ0. { The relationship between bending angle and deviation angle is illustrated in Fig. 2. Index of Refraction for Air • Light travels faster through warm air than it does through cold air.
    [Show full text]