Who are we? Where did we come from? Where are we going? In "My Reality," author Stan Green examines and attempts to answer these three basic questions confronting humanity. Writing from the perspective of a well-read and educated person who has lived through the last half of the twentieth and the beginning of the twenty-first century, Green presents his ideas based on the study of both history and science.

"My Reality" tracks the historical events that molded the scientific, political, and religious thinking that has shaped the world. Beginning with the Big Bang, Green traces the development of the universe, life, and history of humanity over thirteen billion, seven hundred million years to provide a snapshot of human existence today. He bases his thoughts on the understanding that reality changes as the knowledge base regarding the state of everything changes, with even the smallest modification resulting in our species or culture being significantly different.

As Green examines our understanding of the universe and our place in it, he offers several probable scenarios that could mark our future.

A "New York Times "Notable Book of 2012
Whether it's in a cockpit at takeoff or the planning of an offensive war, a romantic relationship or a dispute at the office, there are many opportunities to lie and self-deceive--but deceit and self-deception carry the costs of being alienated from reality and can lead to disaster. So why does deception play such a prominent role in our everyday lives? In short, why do we deceive?
In his bold new work, prominent biological theorist Robert Trivers unflinchingly argues that self-deception evolved in the service of deceit--the better to fool others. We do it for biological reasons--in order to help us survive and procreate. From viruses mimicking host behavior to humans misremembering (sometimes intentionally) the details of a quarrel, science has proven that the deceptive one can always outwit the masses. But we undertake this deception at our own peril.

Trivers has written an ambitious investigation into the evolutionary logic of lying and the costs of leaving it unchecked.

Computer simulations help advance climatology, astrophysics, and other scientific disciplines. They are also at the crux of several high-profile cases of science in the news. How do simulation scientists, with little or no direct observations, make decisions about what to represent? What is the nature of simulated evidence, and how do we evaluate its strength? Aimee Kendall Roundtree suggests answers in Computer Simulation, Rhetoric, and the Scientific Imagination. She interprets simulations in the sciences by uncovering the argumentative strategies that underpin the production and dissemination of simulated findings. She also explains how subjective and social influences do not diminish simulations' virtue or power to represent the real thing. Along the way, Roundtree situates computer simulations within the scientific imagination alongside paradoxes, thought experiments, and metaphors. A cogent rhetorical analysis, Computer Simulation, Rhetoric, and the Scientific Imagination engages scholars of the rhetoric of science, technology, and new and digital media, but it is also accessible to the general public interested in debates over hurricane preparedness and climate change.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This study originates in the observation that improv comedy or improvised theater has such a vast majority of white people practicing it, while other improvisational or comedic art forms (jazz, freestyle rap, stand up) are historically grounded in and marked as Black cultural production. What it is about improv that makes it such a white space? Can an absence be an object of study? If so, what is there to study? Where should one look?

The book is a review of some basics notions in optics. The first chapter starts with a review of Newton's laws and planetary motion and some related equations. The second chapter deals with the planet earth's atmosphere; the third is an introduction to remote sensing. Chapter 4 and 5 introduce a background on Maxwell's laws in electromagnetism and light polarization. Some other topics of interest have been also developed. Among these topics are the light interaction with spherical surfaces and related equations, light Interference, linear polarization by anisotropy, Fourier transform spectroscopy, and an introduction to Lidar.

A perfume-flavorist's practical description of most of the commercially available perfume and flavor chemicals, with their chemical structure and practical physical data, appearance, odor and flavor type, reported and suggested uses, production and evaluation, with literature references for further details and study. Volume II Monographs 1507 trans-4-HEPTENAL to 2928: TETROHYDRO-para-TOLYLALDEHYDE

The present work deals with the representation of trauma and violence in coming-of-age stories written by African-American and Afro-Caribbean women authors in the United States. The kinds of violence explored in this work are related to the post-colonial condition the women protagonists experience, in which racism, sexism, classism, among other kinds of discrimination, are co-created in an intersectional experience of oppression. The titles analyzed in this work are: Lucy (1990), written by Jamaica Kincaid; Breath, Eyes, Memory (1994), written by Edwidge Danticat; Bone Black - Memories of Girlhood (1996), written by bell hooks; and God Help the Child (2015), written by Toni Morrison. The Bildungsroman genre serves as the form with which the authors are able to display the different forms of violence experienced during the the process of growing up female and black in the United States, and also in the Caribbean islands of Antigua and Haiti, in the cases of Kincaid and Danticat respectively. The coming-of-age stories written by women, and more specifically by African-American and Afro-Caribbean women, tend to showcase narratives in which the tensions between the protagonists' self-determination and the influence of social and cultural factors in their development opportunities are negotiated. The genre is adapted and subverted by the authors, deviating from its canonical European origins, becoming a site in which the authors are able to represent different kinds of violence, and the subsequent traumatic consequences caused by it.