Foresight, hindsight, IODP and science communicaton

2021 ◽  
Author(s):  
Carol Cotterill ◽  
Sharon Katz Cooper ◽  
Angela Slagle ◽  
Carl Brenner
Keyword(s):  
Science Communication ◽  
Niels Bohr ◽  
Current Phase ◽  
Human Beings ◽  
Ocean Drilling ◽  
The Past ◽  
Societal Relevance ◽  
Research Activities ◽  
The Earth ◽  
The Future

<p>There aren’t many circumstances that require looking into the future to decide what people will be interested in about the past, while writing in the present. Dr. Roz Coggan wasn’t kidding when she drew a picture of a scientific ocean drilling vessel and labelled it as a Time Machine! So how do we go about communicating the science in the sediments, the cliff-hangers in the cores?</p><p>Since 1966, the scientific community has looked to the oceans, and the natural laboratories hidden beneath them, to answer fundamental questions concerning the composition, structure, and key processes of the Earth, unravelling geochemical, biological, physical, structural, climatic and geohazard-related complexities along the way. As the current phase of scientific ocean drilling (IODP) is drawing to an end, an international team has drafted a new vision for the future of this inspiring and unique program, released officially in Fall 2020.</p><p>The 2050 Science Framework for Scientific Ocean Drilling consists of seven Strategic Objectives and five Flagship Initiatives. Spanning all of these are four Enabling Elements - key facets that facilitate research activities, enhance outputs, and maximise their impact. Enabling Element 1 covers the broader impacts and outreach associated with scientific ocean drilling, including highlighting the societal relevance of its research topics, inspiring and training the next generation of ocean scientists, addressing knowledge sharing and collaborations, and working towards greater diversity and inclusion in geoscience. These are not small issues to address, and overall Enabling Element 1 sets an aspirational target for science communication going forward:</p><p>“Using a variety of social media and web-based platforms, data and results will be broadly disseminated to educators, policymakers, and the public, securing scientific ocean drilling’s position as the authoritative source of information about the Earth system.” (Koppers and Coggon, 2020)</p><p>We believe that with such broad aims, now is the time to formulate large-scale strategies for science communication. By bringing in aspects of strategy and branding, stirred together with a good dose of umbrella narratives, we aim to develop a transmedia approach to science communication, taking different present audiences on unique journeys into the past with an eye on the future. We will need to assess framing and relevance, the power of storytelling to communicate facts, and how best to ensure that our activities contribute to excitement about learning the unfolding stories of the Earth. Now is the perfect time to initiate this effort, and it is hoped that this review of multiple aspects of Science Communication, Public Engagement and branding can help begin these discussions.</p><p>“What is it that we human beings ultimately depend on? We depend on our words. We are suspended in language. Our task is to communicate experience and ideas to others”. Niels Bohr</p><p><img src="https://contentmanager.copernicus.org/fileStorageProxy.php?f=gepj.9eeeacff500068037360161/sdaolpUECMynit/12UGE&app=m&a=0&c=7695791849a0f9cd39fd62c7511f16b5&ct=x&pn=gepj.elif&d=1" alt=""></p><p>Original illustration by GeoProse from the 2050 From Koppers, A.A.P., and R. Coggon, eds. 2020. Exploring Earth by Scientific Ocean Drilling: 2050 Framework.</p>

Heidegger, Aristotle, and the Future of Art

2016 ◽  
Vol 50 ◽  
pp. 57-70
Author(s):  
Khafiz Kerimov ◽  
Keyword(s):  
Nicomachean Ethics ◽  
Human Beings ◽  
Work Of Art ◽  
The Past ◽  
The Earth ◽  
The Future ◽  
Self Knowledge ◽  
The Creation ◽  
Definition Of

The epilogue of Martin Heidegger's Der Ursprung des Kunstwerkes quotes Hegel's famous judgment: “[A]rt is and remains for us, on the side of its highest vocation, something past.” With this judgment, Hegel says that art has ceased to be the vehicle of self-knowledge for human beings; Hegel proclaims the pastness of art. But the future of art is thus put into question. This is how Heidegger transforms Hegel's verdict into a question: “Is art still an essential and necessary way in which […] truth happens which is decisive for our historical existence, or is art no longer of this character?” Thus, the question of the pastness of art turns into the question regarding whether art is to be or not to be, into the question of the future of art. Hegel's judgment proclaims the pastness of art, because art is implicated with material contingency. That means that the question of the rehabilitation of art, of the future of art, is at the same time the question of the phenomenological rehabilitation of the material. What is central to this project of rehabilitation is the figure of the work of art with its own peculiar kind of materiality. Therefore, Heidegger reformulates the material of art as earth which is a source not just of contingency but also of potentiality. Yet, Heidegger does not understand art as the creation of aesthetic objects, rather, art is concerned with ποίησιϛ, with the bringing forth of beings out of the unconcealment. Such is the formulaic definition of art as τέχνη in Aristotle's Nicomachean Ethics: “All art is concerned with the process of coming into being, and to practice art is also to consider how something capable of being or not being [τι τῶν ἐνδεχομένων καὶ εἶναι καὶ μὴ εἶναι] […] may come into being.” This formula, although it is nowhere present in the essay, is the hidden center of Heidegger's Der Ursprung des Kunstwerkes – such is the claim of this essay. Heidegger returns to the ancient definition of τέχνη to place art within the parameters of history, i.e., starting history anew by introducing new beings. But every bringing forth of beings is a retrieval of the past, i.e., of the earth rich with potentiality from which alone the future can unfold. Thus, every decision concerning the future always takes up the past, i.e., the already-there of the earth.

Adaptations of Time Travel Narratives in Japanese Multimedia: Nurturing Eudaimonia across Time and Space

2014 ◽  
Vol 7 (2) ◽  
pp. 136-151 ◽  
Author(s):  
Sung-Ae Lee
Keyword(s):  
Travel Narratives ◽  
Time Travel ◽  
Cultural Knowledge ◽  
Human Beings ◽  
The Core ◽  
The Past ◽  
Life Styles ◽  
Concern For Others ◽  
The Future ◽  
Live Action

To displace a character in time is to depict a character who becomes acutely conscious of his or her status as other, as she or he strives to comprehend and interact with a culture whose mentality is both familiar and different in obvious and subtle ways. Two main types of time travel pose a philosophical distinction between visiting the past with knowledge of the future and trying to inhabit the future with past cultural knowledge, but in either case the unpredictable impact a time traveller may have on another society is always a prominent theme. At the core of Japanese time travel narratives is a contrast between self-interested and eudaimonic life styles as these are reflected by the time traveller's activities. Eudaimonia is a ‘flourishing life’, a life focused on what is valuable for human beings and the grounding of that value in altruistic concern for others. In a study of multimodal narratives belonging to two sets – adaptations of Tsutsui Yasutaka's young adult novella The Girl Who Leapt Through Time and Yamazaki Mari's manga series Thermae Romae – this article examines how time travel narratives in anime and live action film affirm that eudaimonic living is always a core value to be nurtured.

Dimensi Edukatif pada Kisah-Kisah Al-Qur'an

SUHUF ◽  
2015 ◽  
Vol 3 (1) ◽  
pp. 69-83
Author(s):  
Novita Siswayanti
Keyword(s):  
Teaching Methods ◽  
Religious Values ◽  
Human Beings ◽  
Learning Materials ◽  
Transformative Power ◽  
Amount Of Information ◽  
Vast Amount ◽  
The Past ◽  
Religious Text ◽  
The Future

The stories in Qur'an are Allah’s decrees which convey more beau-tiful values beyond any religious text ever written. It is the holiest scripture and is written  in a wonderful, understandable, and attract-ive language humbly conveying a vast amount of information about life and events that happened in the past. It’s aim is to be an object of reflection for human beings living in this age and the future. Even more so, the stories in Al-Qur'an also entail an educative function providing learning materials,  and teaching methods, regarding the transformative power of Islam and the internalization of true religious values.

scholarly journals Estuaries, Human Beings, and the Future

2021 ◽  
Vol 9 ◽  
Author(s):  
Steven D. Culberson
Keyword(s):  
Fresh Water ◽  
Human Activities ◽  
Human Beings ◽  
Streams And Rivers ◽  
Salty Water ◽  
The Earth ◽  
The Future

Estuaries are places on the earth where rivers meet oceans. When rain and snowmelt drain off the land, the fresh water collects in streams and rivers and eventually makes its way to the ocean. At the same time, the ocean has tides that push salty water upstream into the rivers. This place, where rivers and oceans mix, is called an estuary. Estuaries contain many kinds of habitats that are home to plants and animals. Many people work and live in estuaries. In this article, I describe what makes estuaries interesting and important to plants, animals, and people. I also explain how these important areas are under threat from certain human activities.

scholarly journals Mnemicity vs. Temporality: Distinguishing between components of episodic representations

2021 ◽  
Author(s):  
Johannes Mahr
Keyword(s):  
Temporal Orientation ◽  
Human Beings ◽  
The Past ◽  
Episodic Simulation ◽  
The Future ◽  
Event Simulations

Human beings regularly 'mentally travel' to past and future times in memory and imagination. In theory, whether an event is remembered or imagined (its ‘mnemicity’) underspecifies whether it is oriented towards the past or the future (its ‘temporality’). However, it remains unclear to what extent the temporal orientation of such episodic simulations is cognitively represented separately from their status as memories or imagination. To address this question, we investigated whether episodic simulations are more easily distinguishable in memory by virtue of their temporal orientation or their mnemicity. In three experiments (N = 360), participants were asked to generate and later recall events differing along the lines of temporal orientation (past/future) and mnemicity (remembered/imagined). Across all of our experiments, we consistently found that participants were more likely to confuse in recall event simulations that shared the same temporal orientation rather than the same mnemicity. These results show that the temporal orientation of episodic representations can be cognitively represented separately from their mnemicity and have implications for debates about the role of temporality in episodic simulation.

A Shared Story for Reconciliation—Which Story? Conclusive Reflections

2008 ◽  
Vol 2 (1) ◽  
pp. 17-27
Author(s):  
Abraham van de Beek
Keyword(s):  
South Africa ◽  
Christian Faith ◽  
Human Beings ◽  
War Of Independence ◽  
The Past ◽  
The Future

AbstractIn cases of severe conflicts, e.g. in South-Africa during the time of apartheid or in Indonesia during the war of Independence, people are deeply wounded. Both victims and perpetrators bear memories of the past as heavy burdens that close the future for them. They keep their stories silent in order to not be confronted with the past. Telling the story seems to open up the future, but, in the end, it turns out that victims and perpetrators cannot develop a shared story. Only death can deliver them from the past. Christian faith proclaims the death of human beings in the death of Christ. It opens a new future in the resurrection of a new being.

Anthropology Meets History

2012 ◽  
Vol 21 (2) ◽  
pp. 20-34 ◽  
Author(s):  
Christian Giordano
Keyword(s):  
Social Resource ◽  
Human Beings ◽  
The Past ◽  
Or Groups ◽  
The Future ◽  
Per Se

This article analyses the difficult relation between anthropology and history. The point, therefore, is to show how anthropology conceptualises the past differently from history as a discipline. Beginning with the differences between anthropology and history in terms of the concept of time, the article highlights that while for history time is concrete, objective and exogenous to human beings, for anthropology it is characterised by its being condensed, collectively subjective and endogenous. By analyzing actual examples, the article shows that the anthropologist is not interested in the past per se, but rather in the past as a dimension of the present. Accordingly, actualised, revised and manipulated history as well as the role of the past in the present need to be taken into account. Consequently, history and the past have their own specific efficiency because they are also a form of knowledge and social resource mobilised by single individuals or groups to find their bearings and act accordingly in the present and likewise to plan the future.

scholarly journals Occasionally, He’s a Somniaticidal Maniac: Stephen Graham Jones Reclaims Home and History

2019 ◽  
pp. 77-91
Author(s):  
Theodore C. Van Alst, Jr.
Keyword(s):  
Native American ◽  
American Literature ◽  
Environmental Activism ◽  
Native American Literature ◽  
Human Beings ◽  
The Earth ◽  
The World ◽  
The Future ◽  
Mother Earth

Environmental activism and preservation of the land, acknowledgement of our shared responsibilities to the planet, to unci maka, to Mother Earth, to our home; these are obligations of love we as human beings embrace with devoted regularity. But what happens when we look at stories that might destroy the world entirely, might remold, reshape, reclaim and remake (or perhaps even “rename” in a restorative move) our histories and homes? What is the reception for works that defy the expectations of devotion to the environment in Native American literature one genre at a time? That address historic erasure by reshaping the future? This paper will examine some of Stephen Graham Jones’s prolific works, including Sterling City, “How Billy Hanson Destroyed the Earth, and Everyone on It,” as well as Chapter Six, all published in a variety of platforms and collections. In each instance, the worlds as home and future history described are decidedly reclaimed, perhaps for good reasons, and perhaps for not so good reasons. The worlds offered to choose from, however, are ones that will likely give you nightmares, or at least pause, even in the daylight.

scholarly journals Muuseumid ja pärand: inimesekeskse pärandihalduse poole

2019 ◽  
Vol 62 (1) ◽  
pp. 145-164
Author(s):  
Kurmo Konsa ◽  
Kaie Jeeser
Keyword(s):  
National Level ◽  
Integrated Treatment ◽  
Living Environment ◽  
Heritage Management ◽  
Heritage Conservation ◽  
Human Beings ◽  
The Past ◽  
Heritage Studies ◽  
The Future ◽  
Different Levels

Museums are memory institutions. They serve to collect, study, preserve and mediate to the public culturally valuable objects related to human beings and their living environment. They bolster the formation of social, communal and family identities; they function as public memory institutions, supporting education and scientific research and, of course, museums provide entertainment and recreation. In this article, we look at museums from the perspective of heritage studies, and for our analysis, we use the following three dimensions: heritage objects, levels of society and processes of heritage management. Our objective is to present a conceptual framework which would highlight more clearly the connections between heritage and museums and which would lay a foundation for interlinking some theoretical concepts from heritage studies and museology and help to improve practical heritage management. Museums and heritage are closely, if not inextricably, linked. A museum’s connection with heritage has always been one of the important features that defines it. At the same time, the relationships between various heritage institutions and their links with broader heritage paradigms have not been sufficiently researched. Since the second half of the 20th century, the number of objects and phenomena considered to be heritage has dramatically increased. Museums endeavor to keep pace with these changes, and thus more new museums are being established and the range of collection items is expanding. For a long time, discussions of museums encompassed only national-level museums. This is due to the fact that national museums are the oldest of such institutions to have emerged, and on the other hand, it is museums at the national level that have attained the most influential position in the heritage landscape. At the same time museologists have paid rather scant attention to museum institutions at other levels. Private museums and personal collections have not received sufficient museological consideration even though they form a significant amount of social heritage and are the most natural to people, and often the most important for them too. Likewise, community and local government memory institutions have only recently become of interest to museology, which is also the case even in the context of world heritage. All activities connected to heritage may be summed up with the term ’heritage management’. Heritage management incorporates principles and practices connected to the identification, preservation, documentation, interpretation and presentation of objects of historical, natural, scientific or other interest. The processes of heritage management can be grouped according to their focus: object-based, value-based and people-centered. These approaches do not follow a specific chronological order and are not necessarily exclusive of one another. Although they come in a certain chronological sequence, all the approaches are currently used depending on the context and purpose of the inquiry. These approaches reflect an increasingly more comprehensive and integrated treatment of heritage management. People-centered heritage management is a dynamic social process which necessarily includes diverse perspectives on the value of the heritage. Museums have made much better progress in producing multi-perspective views than heritage conservation has by comparison. One of the reasons is that the museum field is not as rigidly defined by law or regulated by bureaucracy as heritage conservation is. Heritage management consists of a continuous re-creation of the heritage, and here again, museums are the places where such re-creations characteristically occur. It is in museums that we continually place objects in new contexts and examine how that impacts people. Each exhibition is a new interpretation of the object, offering a treatment of it from a novel perspective. In fact the exact same process takes place with regard to all other heritage objects and phenomena, but perhaps within less controllable and observable contexts. A key issue for heritage management is the introduction of sustainable and more inclusive management methods. Museological theory and museum practice offer several examples here. People must be involved in the management of heritage at each stage, starting from the definition of what it precisely is and ending with its interpretation. It is important to develop and implement relevant practices. The idea of a participatory museum has made significant gains in this direction. People-centered heritage management entails, above all, the creation of future-oriented values and meanings. In a sense, the perspective must shift from the past to the future. Heritage is not a thing of the past, but of the future. It is a social and cultural resource that forms the basis for our plans for the future. We believe that this is the primary function of the heritage. Heritage management is the reinterpretation of contemporary social and cultural realities by using interpretations of the past selected for this purpose. Its objective is to change the present into a desirable future. Here it is important to take into account different types of heritage as well as different levels of society. Heritage stories must be like a symphony that incorporates all the participants from all of the different levels of society.

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