Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This book is the first in a series of planned volumes focused on preserving the character of the development of bioethics in particular cultural contexts. As the first of these volumes, Leo Pessini, Christian de Paul de Barchifontaine, and Fernando Lolas Stepke's work has succeeded well. It has brought together accounts by sch- ars who were crucial to the emergence of bioethics in the Ibero-American cultural domain. This trail-blazing work in the history of bioethics will be of enduring s- nificance. I am deeply in their debt for having shouldered this far from easy task. Bioethics is the product of very particular socio-historical developments. Most prominent among them have been (1) the secularization of the dominant culture of North America, Western Europe, and now Central and South America as well, (2) a deflation of the status and authority of physicians as moral authorities able to guide their own profession, and (3) the salience of a post-traditional animus that gives c- tral place to persons as isolated atomic sources of moral authority. Bioethics initially took shape in North America as a post-Christian, post-professional, post-traditional social movement. This bioethics sought to establish a moral discourse for the public forum, a moral practice able to give practical guidance in hospitals and other insti- tions, and a body of undergirding and justifying theoretical reflections.

The fourth edition of the essential introduction to digital art, one of contemporary art’s most exciting and dynamic forms of practice. Digital art, along with the technological developments of its medium, has rapidly evolved from the ‘digital revolution’ into the social media era and to the postdigital and post-Internet landscape. This new, expanded edition of this invaluable overview of the medium traces the emergence of artificial intelligence, augmented and mixed realities, and Non-Fungible Tokens (NFTs), and surveys themes explored by digital artworks in the areas of activism, networks and telepresence, and ecological art and the Anthropocene. Christiane Paul considers all forms of digital art, focusing on the basic characteristics of their aesthetic language and their technological and art-historical evolution. By looking at the ways in which internet art, digital installation, software art, AR and VR have emerged as recognized artistic practices, Digital Art is an essential critical guide.

"Context Providers" explores the ways in which digital art and culture are challenging and changing the creative process and our ways of constructing meaning. The authors introduce the concept of artists as context providers--people who establish networks of information in a highly collaborative creative process, blurring boundaries between disciplines. Technological change has affected the function of art, the role of the artist, and the way artistic productions are shared, creating a need for flexible information filters as a framework for establishing meaning and identity. "Context Providers" considers the work of media artists today who are directly engaging the scientific community through collaboration, active dialogue, and creative work that challenges the scientific.

This book is the first in a series of planned volumes focused on preserving the character of the development of bioethics in particular cultural contexts. As the first of these volumes, Leo Pessini, Christian de Paul de Barchifontaine, and Fernando Lolas Stepke's work has succeeded well. It has brought together accounts by sch- ars who were crucial to the emergence of bioethics in the Ibero-American cultural domain. This trail-blazing work in the history of bioethics will be of enduring s- nificance. I am deeply in their debt for having shouldered this far from easy task. Bioethics is the product of very particular socio-historical developments. Most prominent among them have been (1) the secularization of the dominant culture of North America, Western Europe, and now Central and South America as well, (2) a deflation of the status and authority of physicians as moral authorities able to guide their own profession, and (3) the salience of a post-traditional animus that gives c- tral place to persons as isolated atomic sources of moral authority. Bioethics initially took shape in North America as a post-Christian, post-professional, post-traditional social movement. This bioethics sought to establish a moral discourse for the public forum, a moral practice able to give practical guidance in hospitals and other insti- tions, and a body of undergirding and justifying theoretical reflections.

Die rechtsvergleichende Arbeit beschaftigt sich mit der Frage der Vereinbarkeit der Verurteilung eines abwesenden Angeklagten mit dem Gebot der Rechtsstaatlichkeit des Strafverfahrens. Die im Spannungsfeld zwischen Angeklagtenrechten und staatlichem Strafanspruch von funf europaischen Staaten gefundenen Regelungen und getroffenen Wertentscheidungen werden dargestellt und miteinander verglichen. Anschliessend wird die Rechtsprechung des Europaischen Gerichtshofs fur Menschenrechte zu diesem Thema analysiert. Auf diese Weise wird aus den fur die Signatarstaaten verbindlichen Garantien der Europaischen Menschenrechtskonvention ein Mindeststandard an bei Verurteilung in absentia einzuhaltenden Verfahrensvoraussetzungen herausgearbeitet. An diesen Mindestanforderungen werden die in den funf untersuchten Verfahrensrechten gegenwartig geltenden Bestimmungen gemessen. Besondere Schwerpunkte liegen dabei auf den jungsten Novellen der Strafverfahrensrechte Frankreichs und der Niederlande, die die besondere Bedeutung des Europaischen Gerichtshofs fur Menschenrechte fur die europaische Rechtsvereinheitlichung deutlich machen.

Christian Paul stellt die Integration von speziellen FGL-Hybridgarnen in Verstarkungshalbzeuge und die Ausnutzung des Formgedachtniseffekts zur Formgebung der funktionalisierten und konsolidierten Verbundstruktur in den Fokus seiner Untersuchungen. Er entwickelt leistungsfahige Leichtbau-Konstruktionen mit einer durch ein Hybridgarn integrierten zusatzlichen Funktion."

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Digital technology has revolutionized the way we produce and experience art today. Not only have traditional forms of art such as printing, painting, photography and sculpture been transformed by digital techniques and media, but entirely new forms such as net art, software art, digital installation and virtual reality have emerged as recognized artistic practices, collected by major museums, institutions and private collectors the world over. Here Christiane Paul surveys the developments in digital art from its appearance in the early 1990s right up to the present day, and looks ahead to what the future may hold. Drawing a distinction between work that uses digital technology as a tool to produce traditional forms and work that uses it as a medium to create new types of art, she discusses all the key artists and works. The book explores themes addressed and raised by the art, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, as well as issues such as the collection, presentation and preservation of digital art, the virtual museum, and ownership and copyright.

Menschen(s)kinder erzahlt die Geschichte des jungen Heinrichs, der seine Kindheit in der Wendezeit erlebt und dabei die Freuden und Leiden des Heranwachsens entdeckt.

Eine Gestalt reist durch die Windmuhle der Liebe.

Doch noch ehe sie, jetzt wo sie sich sehen, miteinander ins Gesprach kommen konnen, werfen die grossen Hande zu beiden Seiten und die verachtenden Augen von oben ihren Schatten voraus und angstigen die kleine Gestalt, die zuvor halbsichtbar erschienen war, und jetzt still und stumm auf und in der Schwelle bei ihnen steht. Sie sehen die angstlichen kleinen Augen, die schwache, schutzbedurftige, liebliche Gestalt und merken, wie es innerlich in ihm pulsiert, wie die Wut uber diese Gewalt, diese Niedertracht, diese Feigheit, die nichts als Schwache war und ist, und die nichts und nie mehr als Zerstorung verursacht, und schlicht und doch leider so ergreifend falsch war und ist; sie sehen sie; wie sie als grosse, wulstige Hande von beiden Seiten der Raume, wie der Versuch eine Fliege zu toten, zusammensturme

"Rappelt euch auf, Jungs, schuttelt den Staub aus den grauen Klamotten." Der wackere Alte hatte Recht: nur nicht Trubsal blasen. Also fassten die Freunde Mut. Sie hatten das Gluck der Trotzigen unter lauter starken, hartnackigen, auch kauzigen Mannern und Frauen. Aber mit der Zeit kam der neid. Als Gauner, Diebe und Halsabschneider die Messer wetzen, liessen die Freunde sie locker abblitzen..