Why do humans engage in scientific research? For some, it’s simply a career. Others are drawn to science for its potential financial rewards. And still others do it out of competitiveness—to be the first in their field. But in Darwin Meets Einstein Frans W. Saris argues that in our postmodern times we have lost the meaning of science—that science is not about competition, nor about creating wealth, nor about the joy of discovery. Science is for survival—the survival of humans, the survival of life.
In this accessible collection of essays and columns, Saris brings together in conversation a number of great minds—Charles Darwin, Baruch Spinoza, Niko Tinbergen, Francis Bacon, Heike Kamerlingh Onnes, Franz Kafka, and Albert Einstein—to answer the question: why science? With selections like “Diary of a Physicist,” “The Scientific Life,” “The Mother of All Knowledge,” and “Science Through the Looking Glass of Literature,” Darwin Meets Einstein will entertain its readers and ultimately encourage them to reconsider the meaning—and the purpose—of science.
Debates on immigrant integration often center on “national models of integration,” a concept that reflects the desire of both researchers and policy makers to find common ground. This book challenges the idea that there has ever been a coherent or consistent Dutch model of integration and asserts that though Dutch society has long been seen as exemplary for its multiculturalism—and argues that the incorporation of migrants remains one of the country’s most pressing social and political concerns. In addition to an analysis of how immigration is framed and reframed through diverse dialogues, the author provides a highly dynamic overview of integration policy and its evolution alongside migration research.
This incisive volume combines two important issues in contemporary debates over migration: gender and illegal migration. The authors reconsider migration scholarship through the lens of gender in order to investigate definitions of citizenship and the differences in mechanisms of inclusion and exclusion for men and women. Additionally, through applying an interdisciplinary and comparative historical framework that spans the nineteenth and twentieth centuries, the volume also produces a comprehensive account of illegal migration in nations and regions such as the United States, the Middle East, Germany, the Netherlands, Great Britain, Mexico, Malaysia, Pakistan, and the horn of Africa.
In the wake of the recent far-reaching changes in the use and accessibility of technology in our society, the average person is far more engaged with digital culture than ever before. They are not merely subject to technological advances but actively use, create, and mold them in everyday routines—connecting with loved ones and strangers through the Internet and smart phones, navigating digital worlds for work and recreation, extracting information from vast networks, and even creating and customizing interfaces to best suit their needs. In this timely work, Mirko Tobias Schäfer delves deep into the realities of user participation, the forms it takes, and the popular discourse around new media. Drawing on extensive research into hacking culture, fan communities, and Web 2.0 applications, Schäfer offers a critical approach to the hype around user participation and exposes the blurred boundaries between industry-driven culture and the domain of the user.
It has been ten years since video game giant Electronic Arts first released The Sims, the best-selling game that allows its players to create a household and then manage every aspect of daily life within it. And since its debut, gamers young and old have found ways to “mod” The Sims, a practice in which gamers manipulate the computer code of a game, and thereby alter it to add new content and scenarios.
In Players Unleashed!—the first study of its kind—Tanja Sihvonen provides a fascinating examination of modding, tracing its evolution and detailing its impact on The Sims and the game industry as a whole. Along the way, Sihvonen shares insights into specific modifications and the cultural contexts from which they emerge.
Rembrandt’s extraordinary paintings of female nudes—Andromeda,Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict.
In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.
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