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Over a period of several centuries, the academic study of risk has evolved as a distinct body of thought, which continues to influence conceptual developments in fields such as economics, management, politics and sociology. However, few scholarly works have given a chronological account of cultural and intellectual trends relating to the understanding and analysis of risks. Risk: A Study of its Origins, History and Politics aims to fill this gap by providing a detailed study of key turning points in the evolution of society's understanding of risk. Using a wide range of primary and secondary materials, Matthias Beck and Beth Kewell map the political origins and moral reach of some of the most influential ideas associated with risk and uncertainty at specific periods of time. The historical focus of the book makes it an excellent introduction for readers who wish to go beyond specific risk management techniques and their theoretical underpinnings, to gain an understanding of the history and politics of risk.
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An insider's account of the wild and wacky teams that created cartoon classics for Warner Bros. and MGM Animation
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separated by the exigencies of the design life cycle into another compartment, that makes invisible the (prior) technical work of engineers that is not directly pertinent to the application work of practitioners. More recently (and notably after the work of Greisemer and Star) the black box has been opened and infrastructure has been discussed in terms of the social relations of an extended group of actors that includes developers. Ethical and political issues are involved (cf f accountable computing). Writing broadly within this context, Day (chapter 11) proposes that the concept of 'surface' can assist us to explore space as the product of 'power and the affective and expressive role for m...
The Art of Assembly surveys theatre today to demonstrate its political potential in both form and content. Drawing on numerous examples from around the world in performance, visual art, and activist art, curator and author Florian Malzacher examines works that draw on the particular possibilities of theatre to navigate the space between representation and participation, at once playfully and with sincerity. In a time of wide-ranging crisis, The Art of Assembly is a plea for a strong definition of the political and for a theatre that is not content merely to reflect the world's ills, but instead acts to change them. A knowledgeable foray through the landscape of political theatre. die tagesze...
The Supreme Court of the United States in Feist v. Rural (1991) required that databases must have a minimal degree of creativity for copyright. The judgment was highly significant and the subsequent period is understood as the post-Feist era. It has been globally influential. However, the decision is extremely complex and remains unsatisfactorily interpreted. In particular, it has been impossible to illuminate the creativity requirement. The book gives an account of the decision’s conceptual structure, focusing on its full delineation of the opposite to creativity. In a radical and unprecedented innovation, it is correlated with an automatic computational process. Creativity itself is understood as non-computational or directly human activity concerned with meaning. Determining the presence of creativity is reduced to a four-stage test. This work then has acute practical current relevance to property in data in the digital age; it will also be of theoretical interest to, and is aimed at, researchers in, practitioners, and students of intellectual property worldwide.
Patrick McGinley is able to do what few novelists can: write stories and characters that are drenched in place (specifically, rural Ireland), and yet totally devoid of cheap sentimentality. His landscapes have the edgy, ludicrous beauty of a dream - unstable and prone to capsize into nightmare.
Julian Reichert stared in disbelief as the woman who called herself Angeline Reichert walked into the courtroom. It was as if time was moving one frame at a time; click, click, click when he watched this woman, an image from his past, walk to the plaintiff's table and sit next to her attorneys. It was his sister Angeline, the Angeline he saw lowered into her grave more than thirty years earlier. Julian sat stunned and numb. This could not be! It was only when Gavin McGowan, the Veterinarian and friend of his father, took the witness stand that Julian learned of the bizarre chain of events that dropped this sister into his life where she would challenge his role as the heir to the Reichert empire. Conspiracy and murder, including two attempts on his own life, awaken Julian to the realization that his father has harbored a diabolical secret, a secret known only to the charismatic vet who stuns the court with his story.