Introduction by Professor Stephen Hawking. When Edwin Hubble looked into his telescope in the 1920s, he was shocked to find that nearly all of the galaxies he could see through it were flying away from one another. If these galaxies had always been travelling, he reasoned, then they must, at some point, have been on top of one another. This discovery transformed the debate about one of the most fundamental questions of human existence - how did the universe begin? Every society has stories about the origin of the cosmos and its inhabitants, but now, with the power to peer into the early universe and deploy the knowledge gleaned from archaeology, geology, evolutionary biology and cosmology, we are closer than ever to understanding where it all came from. In The Origin of (almost) Everything, New Scientist explores the modern origin stories of everything from the Big Bang, meteorites and dark energy, to dinosaurs, civilisation, timekeeping, belly-button fluff and beyond. From how complex life evolved on Earth, to the first written language, to how humans conquered space, The Origin of (almost) Everything offers a unique history of the past, present and future of our universe.

Horror in which a couple find themselves stranded in a small European village, where they pique the interest of a local aristocrat. When the honeymoon of Gerald Harcourt (Edward De Souza) and his new wife, Marianne (Jennifer Daniel), is interrupted by a car breakdown, they reconcile themselves to staying a couple of days in a remote village. The locals seem friendly enough and the wealthy Dr. Ravna (Noel Willman) even invites the couple for dinner at his chateau. However, once trapped in Ravna's house the newlyweds swiftly find themselves regretting the invitation as they become the subject of increasingly bizarre and threatening behaviour...

Throughout recent decades, China has emerged as a leader in economic and capitalist reform. In a rapid response to these changes, Chinese culture has been exposed to influences of Western lifestyle. In this exposure, the exchange of cultural perspectives leads to a surge in modern design within China. The question emerges: what is Chinese? Methodologies and practices must be understood to allow an architectural response that is both imaginary and sensitive. This book investigates modern China in its relationship to aesthetic, culture, politics, and architecture. Chinese lifestyle and process are discussed to gain a Chinese perspective, allowing approach and generation to be affective. Implementation of technique is further pursued in the academic institution, where students are required to execute projects specific to Chinese methodologies and techniques. Through this application, strategies for approaching design in China can simultaneously be accurate and cross-cultural. The context that drives design expands beyond a physical realm and intersects issues of time, space, and perspective. These design strategies result in considerate, culturally charged projects.