Melhorar sua compra. Max Tegmark leads us on an astonishing journey through past, present and future, and through the physics, astronomy and mathematics that are the foundation of his work, most particularly his hypothesis that our physical reality is a mathematical structure and his theory of the ultimate multiverse. In a dazzling combination of both popular and groundbreaking science, he not only helps us grasp his often mind-boggling theories, but he also shares with us some of the often surprising triumphs and disappointments that have shaped his life as a scientist. Fascinating from first to last--this is a book that has already prompted the attention and admiration of some of the most prominent scientists and mathematicians.
Abstract The sistematic appeal to the classical forms in the post-modernity, the generical reference to the neoclassical style in different areas, meaning extraordinary minding, ingeniousity expressing balance, serenity and harmony, opposed to the romantic style, becomes dim and persuades the scientific error. Confronting the traditional meaning of the classical style concept, its rethoric purpose, to the recents Social Sciences methods, particularly the Social History of Art, we discuss mistakes and incoherences, locating its concrete use in the Antiquity and Modern Age. No presente trabalho procuraremos confrontar o significado tradicional do termo estilo com os princípios ou métodos utilizados pela história social da arteirice. A história social da arte continua empírica e supõe que o maravilha artístico deve ser entendido segundo sua materialidade histórica ou de acordo com as sociedades que o geraram. Para Thomas Kuhn4, por exemplo, o concepção de paradigma nas ciências é praticamente equivalente a um estilo de pensar científico. Quando conceituamos estilo, estamos procurando elementos para organizar ou classificar objetos e ações humanas que estariam supostamente distribuídas pelo mundo fenomenal de formato desorganizada. Assim, poderíamos afirmar que único falamos em objetos individuais quando existe uma classe à qual ele pertenceria e estabeleceria um limite conceitual para sua existência enquanto indivíduo. O elemento que prevalece é a subjetividade do artista. Seja ela para garantir a expressividade da obra ou para a escolha de uma determinada técnica.
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In the introduction to their edited volume Law and Disorder in the Postcolony Jean and John Comaroff speak of the dialectic between law and lawlessness that pervades the postcolony. On the contrary, Benjamin remains a constant reference in their analysis, even though, one would have to admit, he is mentioned more often than his work is examined. The conceptual tools Benjamin employs in his critiques of both violence and history are the framework that allow the Comaroffs to approach the complex entanglements between representation and violence in all of its forms -of appearance and disappearance, dissimulation and performance- that pervade the world of the postcolony. When it comes to pointing out the limits of Western theoretical frameworks to analyze, explain, and criticize the phenomenon of violence and criminality in the postcolony, the Comaroffs turn instead to Foucault. What escapes Foucauldian analysis in the context of the postcolony seems to lie precisely in the complex entanglement between modes of power that Foucault assigns to different, though sometimes simultaneous, historical temporalities. In this paper, I will develop only what the latter lacks, rather than expounding what the former makes possible, for the kind of critique that the Comaroffs are performing in their work; namely, a kind of critique that is creatively attempting to move from a critique of the postcolony to the conception and practice and the conceptualization at work in this practice of a postcolonial form of critique. When examining the post-apartheid transition in South Africa in , and particularly, the role of police and law enforcement in connection with an apparent public obsession with images of crime and imaginaries of its legal resolution, the Comaroffs write:. Indeed, it is precisely this telos -which presumes the expanding capacity of the State to regulate everyday existence and routinely to enforce punishment- that is in question in South Africa.