Philosophers to Astronauts Readers Theater provides hours of fluency practice that features characters students know and may even admire. The scripts and activities in this resource address standards in reading, speaking, listening, and the history of science while providing a fun environment for everyone involved. When students practice their lines, they read and reread the same passages. Under your direction, they gradually add more expression, read more smoothly, and find any subtle meanings in the passages. Philosophers to Astronauts Readers Theater also meets the goals of the No Child Left Behind Act through direct instruction in three of five key elements of reading instruction: reading fluency, text comprehension, and vocabulary development.
A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.
The study of human body measurements on a comparative basis is known as anthropometrics. Its applicability to the design process is seen in the physical fit, or interface, between the human body and the various components of interior space. Human Dimension and Interior Space is the first major anthropometrically based reference book of design standards for use by all those involved with the physical planning and detailing of interiors, including interior designers, architects, furniture designers, builders, industrial designers, and students of design. The use of anthropometric data, although no substitute for good design or sound professional judgment should be viewed as one of the many tools required in the design process. This comprehensive overview of anthropometrics consists of three parts. The first part deals with the theory and application of anthropometrics and includes a special section dealing with physically disabled and elderly people. It provides the designer with the fundamentals of anthropometrics and a basic understanding of how interior design standards are established. The second part contains easy-to-read, illustrated anthropometric tables, which provide the most current data available on human body size, organized by age and percentile groupings. Also included is data relative to the range of joint motion and body sizes of children. The third part contains hundreds of dimensioned drawings, illustrating in plan and section the proper anthropometrically based relationship between user and space. The types of spaces range from residential and commercial to recreational and institutional, and all dimensions include metric conversions. In the Epilogue, the authors challenge the interior design profession, the building industry, and the furniture manufacturer to seriously explore the problem of adjustability in design. They expose the fallacy of designing to accommodate the so-called average man, who, in fact, does not exist. Using government data, including studies prepared by Dr. Howard Stoudt, Dr. Albert Damon, and Dr. Ross McFarland, formerly of the Harvard School of Public Health, and Jean Roberts of the U.S. Public Health Service, Panero and Zelnik have devised a system of interior design reference standards, easily understood through a series of charts and situation drawings. With Human Dimension and Interior Space, these standards are now accessible to all designers of interior environments.
Few can imagine a world without telephones or televisions; many depend on computers and the Internet as part of daily life. Without scientific theory, these developments would not have been possible. In this exceptionally clear and engaging introduction to philosophy of science, James Ladyman explores the philosophical questions that arise when we reflect on the nature of the scientific method and the knowledge it produces. He discusses whether fundamental philosophical questions about knowledge and reality might be answered by science, and considers in detail the debate between realists and antirealists about the extent of scientific knowledge. Along the way, central topics in philosophy of science, such as the demarcation of science from non-science, induction, confirmation and falsification, the relationship between theory and observation and relativism are all addressed. Important and complex current debates over underdetermination, inference to the best explaination and the implications of radical theory change are clarified and clearly explained for those new to the subject.
Becoming someone is a learning process; and what we learn is the new values around which, if we succeed, our lives will come to turn. Agents transform themselves in the process of, for example, becoming parents, embarking on careers, or acquiring a passion for music or politics. How can such activity be rational, if the reason for engaging in the relevant pursuit is only available to the person one will become? How is it psychologically possible to feel the attraction of a form of concern that is not yet one's own? How can the work done to arrive at the finish line be ascribed to one who doesn't (really) know what one is doing, or why one is doing it? In Aspiration, Agnes Callard asserts that these questions belong to the theory of aspiration. Aspirants are motivated by proleptic reasons, acknowledged defective versions of the reasons they expect to eventually grasp. The psychology of such a transformation is marked by intrinsic conflict between their old point of view on value and the one they are trying to acquire. They cannot adjudicate this conflict by deliberating or choosing or deciding-rather, they resolve it by working to see the world in a new way. This work has a teleological structure: by modeling oneself on the person he or she is trying to be, the aspirant brings that person into being. Because it is open to us to engage in an activity of self-creation, we are responsible for having become the kinds of people we are.
We're used to thinking about the self as an independent entity, something that we either have or are. In The Ego Tunnel, philosopher Thomas Metzinger claims otherwise: No such thing as a self exists. The conscious self is the content of a model created by our brain - an internal image, but one we cannot experience as an image. Everything we experience is ''a virtual self in a virtual reality.'' But if the self is not ''real,'' why and how did it evolve? How does the brain construct it? Do we still have souls, free will, personal autonomy, or moral accountability? In a time when the science of cognition is becoming as controversial as evolution, The Ego Tunnel provides a stunningly original take on the mystery of the mind.
The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with—space and time—into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work. The Viewpoints are a set of names given to certain principles of movement through time and space—they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form. Primarily intended for the many theatre artists who, in the last several years, have become intrigued with Viewpoints yet have had no single source to refer to in their investigations. It can also be used by anyone with a general interest in collaboration and the creative process, whether in art, business or daily life. Anne Bogart is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of two OBIE Awards and a Bessie Award, and is an associate professor at Columbia University. Her recent works include Alice’s Adventures; Bobrauschenbergamerica; Small Lives, Big Dreams; Marathon Dancing; and The Baltimore Waltz. Tina Landau, noted director and playwright, whose original work includes Space (Time magazine 10 Best), Dream True (with composer Ricky Ian Gordon) and Floyd Collins (with composer Adam Guettel), which received the Lucille Lortel Award for Best Musical, an OBIE Award and seven Drama Desk nominations. She has been an ensemble member of the Steppenwolf Theatre Company since 1997.
Looks at the operations of the International Space Station from the perspective of the Houston flight control team, under the leadership of NASA's flight directors, who authored the book. The book provides insight into the vast amount of time and energy that these teams devote to the development, planning and integration of a mission before it is executed. The passion and attention to detail of the flight control team members, who are always ready to step up when things do not go well, is a hallmark of NASA human spaceflight operations. With tremendous support from the ISS program office and engineering community, the flight control team has made the International Space Station and the programs before it a success.
NATIONAL BESTSELLER • The renowned theoretical physicist and national bestselling author of The God Equation details the developments in computer technology, artificial intelligence, medicine, space travel, and more, that are poised to happen over the next century. “Mind-bending…. [An] alternately fascinating and frightening book.” —San Francisco Chronicle Space elevators. Internet-enabled contact lenses. Cars that fly by floating on magnetic fields. This is the stuff of science fiction—it’s also daily life in the year 2100. Renowned theoretical physicist Michio Kaku considers how these inventions will affect the world economy, addressing the key questions: Who will have jobs? Which nations will prosper? Kaku interviews three hundred of the world’s top scientists—working in their labs on astonishing prototypes. He also takes into account the rigorous scientific principles that regulate how quickly, how safely, and how far technologies can advance. In Physics of the Future, Kaku forecasts a century of earthshaking advances in technology that could make even the last centuries’ leaps and bounds seem insignificant.
With The Modern Myths, brilliant science communicator Philip Ball spins a new yarn. From novels and comic books to B-movies, it is an epic exploration of literature, new media and technology, the nature of storytelling, and the making and meaning of our most important tales. Myths are usually seen as stories from the depths of time—fun and fantastical, but no longer believed by anyone. Yet, as Philip Ball shows, we are still writing them—and still living them—today. From Robinson Crusoe and Frankenstein to Batman, many stories written in the past few centuries are commonly, perhaps glibly, called “modern myths.” But Ball argues that we should take that idea seriously. Our stories of Dracula, Dr. Jekyll and Mr. Hyde, and Sherlock Holmes are doing the kind of cultural work that the ancient myths once did. Through the medium of narratives that all of us know in their basic outline and which have no clear moral or resolution, these modern myths explore some of our deepest fears, dreams, and anxieties. We keep returning to these tales, reinventing them endlessly for new uses. But what are they really about, and why do we need them? What myths are still taking shape today? And what makes a story become a modern myth? In The Modern Myths, Ball takes us on a wide-ranging tour of our collective imagination, asking what some of its most popular stories reveal about the nature of being human in the modern age.
