The Economics of the Greenium: How Much is the World Willing to Pay to Save the Earth?

2022 ◽  
Author(s):  
Peter Lau ◽  
Angela Sze ◽  
Wilson Wan ◽  
Alfred Wong
Keyword(s):  
The Earth ◽  
The World

Exiting Socialism Challenges

2006 ◽  
pp. 114-125 ◽  
Author(s):  
G. Popov
Keyword(s):  
Social Challenges ◽  
The Earth ◽  
The World ◽  
Science And Culture ◽  
Municipal Economy

Exiting socialism by almost a third of the earth population appears to be the most prominent event of the late XX century. The author makes an attempt to formulate some challenges of this process and thus a theory of exiting socialism. First, he inquires into the concept of exiting socialism as it exists in the world. Then he analyzes real experiences in this field. The research enables the author to outline the main economic, governmental and social challenges of such exit - from municipal economy to science and culture.

Slavery and the Trumpocene: It's Not the End of the World

2019 ◽  
Vol 41 (1) ◽  
pp. 40-50
Author(s):  
Claire Colebrook
Keyword(s):  
Living System ◽  
Racial Violence ◽  
First Century ◽  
The West ◽  
The Earth ◽  
The World ◽  
End Of The World ◽  
Twenty First Century ◽  
Geological Period

There is something more catastrophic than the end of the world, especially when ‘world’ is understood as the horizon of meaning and expectation that has composed the West. If the Anthropocene is the geological period marking the point at which the earth as a living system has been altered by ‘anthropos,’ the Trumpocene marks the twenty-first-century recognition that the destruction of the planet has occurred by way of racial violence, slavery and annihilation. Rather than saving the world, recognizing the Trumpocene demands that we think about destroying the barbarism that has marked the earth.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

Ups and Downs

2018 ◽  
Author(s):  
Roy Livermore
Keyword(s):  
Mantle Convection ◽  
Laboratory Experiments ◽  
Inner Core ◽  
Computer Modelling ◽  
Great Depth ◽  
New Horizons ◽  
The Core ◽  
The Earth ◽  
The World ◽  
The 1960S

Despite the dumbing-down of education in recent years, it would be unusual to find a ten-year-old who could not name the major continents on a map of the world. Yet how many adults have the faintest idea of the structures that exist within the Earth? Understandably, knowledge is limited by the fact that the Earth’s interior is less accessible than the surface of Pluto, mapped in 2016 by the NASA New Horizons spacecraft. Indeed, Pluto, 7.5 billion kilometres from Earth, was discovered six years earlier than the similar-sized inner core of our planet. Fortunately, modern seismic techniques enable us to image the mantle right down to the core, while laboratory experiments simulating the pressures and temperatures at great depth, combined with computer modelling of mantle convection, help identify its mineral and chemical composition. The results are providing the most rapid advances in our understanding of how this planet works since the great revolution of the 1960s.

II. The Question of God in the Struggle for Racial Justice

Horizons ◽  
2021 ◽  
Vol 48 (1) ◽  
pp. 172-194
Author(s):  
Christopher Pramuk
Keyword(s):  
Human Freedom ◽  
Whole Body ◽  
Racial Justice ◽  
The Earth ◽  
The World ◽  
The Face

In March 1943, having narrowly escaped Europe three years earlier, Abraham Joshua Heschel published “The Meaning of This War,” his first essay in an American publication. The essay shows, quite remarkably, his full command of literary English. It also shows, as biographer Edward Kaplan remarks, that Heschel “had found his militant voice.” “Emblazoned over the gates of the world in which we live,” the essay begins, “is the escutcheon of the demons. The mark of Cain in the face of man has come to overshadow the likeness of God. There have never been so much guilt and distress, agony and terror. At no time has the earth been so soaked with blood.” Heschel's extraordinary life's witness, his whole body of work, traverses precisely this anthropological and theological knife's edge: The mark of Cain in the face of man has come to overshadow the likeness of God. Where is God? Or better, Who is God? in relation to the rapacious misuse and idolatrous distortion of human freedom? Or simply, Is God?

scholarly journals Interpreting Locked Photographic Data: The Case of Apollo 17 Photo GPN-2000-00113

Designs ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 8
Author(s):  
Pyrrhon Amathes ◽  
Paul Christodoulides
Keyword(s):  
Experimental Data ◽  
Computer Simulations ◽  
The Moon ◽  
Geometrical Analysis ◽  
Apparent Position ◽  
Apollo Program ◽  
The Earth ◽  
Novel Approach ◽  
The World ◽  
The Moment

Photography can be used for pleasure and art but can also be used in many disciplines of science, because it captures the details of the moment and can serve as a proving tool due to the information it preserves. During the period of the Apollo program (1969 to 1972), the National Aeronautics and Space Administration (NASA) successfully landed humans on the Moon and showed hundreds of photos to the world presenting the travel and landings. This paper uses computer simulations and geometry to examine the authenticity of one such photo, namely Apollo 17 photo GPN-2000-00113. In addition, a novel approach is employed by creating an experimental scene to illustrate details and provide measurements. The crucial factors on which the geometrical analysis relies are locked in the photograph and are: (a) the apparent position of the Earth relative to the illustrated flag and (b) the point to which the shadow of the astronaut taking the photo reaches, in relation to the flagpole. The analysis and experimental data show geometrical and time mismatches, proving that the photo is a composite.

scholarly journals III. On the nature and construction of the sun and fixed stars

1795 ◽  
Vol 85 ◽  
pp. 46-72 ◽  
Keyword(s):  
Central Body ◽  
Planetary System ◽  
Considerable Progress ◽  
The Sun ◽  
Great Satisfaction ◽  
The Earth ◽  
The World ◽  
Celestial Bodies ◽  
The Universe ◽  
Made In

Among the celestial bodies the sun is certainly the first which should attract our notice. It is a fountain of light that illuminates the world! it is the cause of that heat which main­tains the productive power of nature, and makes the earth a fit habitation for man! it is the central body of the planetary system; and what renders a knowledge of its nature still more interesting to us is, that the numberless stars which compose the universe, appear, by the strictest analogy, to be similar bodies. Their innate light is so intense, that it reaches the eye of the observer from the remotest regions of space, and forcibly claims his notice. Now, if we are convinced that an inquiry into the nature and properties of the sun is highly worthy of our notice, we may also with great satisfaction reflect on the considerable progress that has already been made in our knowledge of this eminent body. It would require a long detail to enumerate all the various discoveries which have been made on this subject; I shall, therefore, content myself with giving only the most capital of them.

scholarly journals Geopoetics: Storytelling against mastery

2021 ◽  
pp. 204382062098639
Author(s):  
Aya Nassar
Keyword(s):  
International Relations ◽  
Open Space ◽  
Arts And Humanities ◽  
The Earth ◽  
The Arts ◽  
The World

In this engagement with Eric Magrane’s article, ‘Climate Geopolitics (The Earth is a Composted Poem)’, I follow two provocations: first, geopoetics as travelling through disciplinary turfs, and second, geopoetics as storytelling. Coming from a disciplinary trajectory that spent a long stop at international relations (IR), these provocations attach me to geopoetics as practice and a growing field. My engagement here is oriented to geopoetics not only at the threshold of geography and the arts and humanities, but also the intersections of geography and politics. I primarily propose that viewing geopoetics as an open space for experimenting allows for disrupting masterful understandings of the academic self and counters a univocal, universal narrative of the world.

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Popular Music ◽  
2019 ◽  
Vol 38 (03) ◽  
pp. 481-497
Author(s):  
Olivia R. Lucas
Keyword(s):  
Black Metal ◽  
The Earth ◽  
The World ◽  
Extreme Metal ◽  
The Way

AbstractThis article presents a case study of ecocritical black metal, delving into the apocalypticism of the California-based black metal band Botanist, who conjures a world in which plants have violently destroyed human civilisation. It first contextualises Botanist amidst the broader current of environmentalism in extreme metal as well as within wider cultural explorations of plants as subjective beings capable of violence. The article then examines how Botanist taps into the logic of apocalyptic environmentalism, as the music presents the essential narrative of apocalyptic bioterrorism: humanity, with wanton hubris, has sown the seeds of its own destruction, and earned whatever horrors befall it on the way to elimination. With its bleak outlook and strident sound world, Botanist's music threatens to destabilise listeners’ assumptions about their place in the world and offers an example of what apocalyptic ecological urgency in music could sound like.

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