We normally take it for granted that other people will live on after we ourselves have died. Even if we do not believe in a personal afterlife in which we survive our own deaths, we assume that there will be a "collective afterlife" in which humanity survives long after we are gone. Samuel Scheffler maintains that this assumption plays a surprising - indeed astonishing - role i...(展开全部)

Despite increasingly nuanced understandings of the neurobiology of addiction and a greater appreciation of the social and economic conditions that allow drug dependency to persist, there remain many unknowns regarding the individual experience of substance abuse and its treatment. In recent years, novel pharmaceutical therapies have given rise to both new hopes for recovery and...(展开全部)

Despite increasingly nuanced understandings of the neurobiology of addiction and a greater appreciation of the social and economic conditions that allow drug dependency to persist, there remain many unknowns regarding the individual experience of substance abuse and its treatment. In recent years, novel pharmaceutical therapies have given rise to both new hopes for recovery and...(展开全部)

In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger ...(展开全部)

In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger ...(展开全部)

From 1987 to 1995, Bristol, England's Sarah Records was a modest underground success and, for the most part, a critical laughingstock in its native country-sneeringly dismissed as the sad, final repository for a fringe style of music (variously referred to as “indie-pop,” “C86,” “cutie” and “twee”) whose moment had passed. Yet now, more than 20 years after its founders symbolic...(展开全部)

安妮拉．亞菲 Aniela Jaffé（1903-1991） 1903年出生於德國柏林猶太家庭，於漢堡大學（University of Hamburg）主修心理學，二戰時為逃避迫害移居瑞士，接受莉蓮．弗雷（Liliane Frey）的精神分析，而後被轉介給榮格，進行了長期的分析工作。 亞菲於1947至1955年擔任蘇黎世榮格學院秘書，為學院的早期規劃作出出色貢獻。1955至1961年擔任榮格私人秘書，是榮格晚年書信的整理者，也是廣為流傳的榮格回憶錄《記憶、夢和反思》（Memories, Dreams, Reflections）多數章節的執筆者。 亞菲亦是傑出的分析心理學者，極富創造力，精熟於榮格學說，在《人及其象徵》（Man and His Symbols）中寫了關於現代藝術的章節，也參與了榮格書信的德文、英文編輯工作。她的著作有《意義的神話》（...(展开全部)

安妮拉．亞菲 Aniela Jaffé（1903-1991） 1903年出生於德國柏林猶太家庭，於漢堡大學（University of Hamburg）主修心理學，二戰時為逃避迫害移居瑞士，接受莉蓮．弗雷（Liliane Frey）的精神分析，而後被轉介給榮格，進行了長期的分析工作。 亞菲於1947至1955年擔任蘇黎世榮格學院秘書，為學院的早期規劃作出出色貢獻。1955至1961年擔任榮格私人秘書，是榮格晚年書信的整理者，也是廣為流傳的榮格回憶錄《記憶、夢和反思》（Memories, Dreams, Reflections）多數章節的執筆者。 亞菲亦是傑出的分析心理學者，極富創造力，精熟於榮格學說，在《人及其象徵》（Man and His Symbols）中寫了關於現代藝術的章節，也參與了榮格書信的德文、英文編輯工作。她的著作有《意義的神話》（...(展开全部)

At the foot of the Argentine Andes, bulldozers are destroying forests and homes to create soy fields in an area already strewn with rubble from previous waves of destruction and violence. Based on ethnographic research in this region where the mountains give way to the Gran Chaco lowlands, Gastón R. Gordillo shows how geographic space is inseparable from the material, historica...(展开全部)