“…a bizarre Internet phenomenon: an “immersive” online experience—part mystery, part game, part who knows what—known as both the Incunabula Papers and Ong’s Hat. The Incunabula Papers/Ong’s Hat was, or is, a “many-threaded, open-ended interactive narrative” that ”weds an alternate history of chaos science and consciousness studies to conspiracy theories, parallel dimensions, and claims that computer-mediated environments can serve as magical tools…. the documents provoked a widespread “immersive legend-trip” in the late 1990s. Via Web forums, participants investigated the documents—manifestos—which spun up descriptions of brilliant but suppressed discoveries relating to paths that certain scientists had forged into alternate realities. Soon, those haunted dimensions existed in the minds and fantasies of Ong’s Hat’s many participants. That was evident as they responded to the original postings by uploading their own—all manner of reflections and artifacts: personal anecdotes, audio recordings, and videos—to augment what became “a really immersive world, and it was vast”.

“…a bizarre Internet phenomenon: an “immersive” online experience—part mystery, part game, part who knows what—known as both the Incunabula Papers and Ong’s Hat. The Incunabula Papers/Ong’s Hat was, or is, a “many-threaded, open-ended interactive narrative” that ”weds an alternate history of chaos science and consciousness studies to conspiracy theories, parallel dimensions, and claims that computer-mediated environments can serve as magical tools…. the documents provoked a widespread “immersive legend-trip” in the late 1990s. Via Web forums, participants investigated the documents—manifestos—which spun up descriptions of brilliant but suppressed discoveries relating to paths that certain scientists had forged into alternate realities. Soon, those haunted dimensions existed in the minds and fantasies of Ong’s Hat’s many participants. That was evident as they responded to the original postings by uploading their own—all manner of reflections and artifacts: personal anecdotes, audio recordings, and videos—to augment what became “a really immersive world, and it was vast”.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Persian is one of the great lingua francas of world history. Yet despite its recognition as a shared language across the Islamic world and beyond, its scope, impact, and mechanisms remain underexplored. A world historical inquiry into pre-modern cosmopolitanism, The Persianate World traces the reach and limits of Persian as a Eurasian language in a comprehensive survey of its geographical, literary, and social frontiers. From Siberia to Southeast Asia, and between London and Beijing, this book shows how Persian gained, maintained, and finally surrendered its status to imperial and vernacular competitors. Fourteen essays trace Persian’s interactions with Bengali, Chinese, Turkic, Punjabi, and other languages to identify the forces that extended “Persographia,” the domain of written Persian. Spanning the ages expansion and contraction, The Persianate World offers a critical survey of both the supports and constraints of one of history’s key languages of global exchange.

The Historical Dictionary of the Philippines, Third Edition contains a chronology, an introductory essay, an extensive bibliography, and several hundred cross-referenced dictionary entries.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.

Writing as Material Practice grapples with the issue of writing as a form of material culture in its ancient and more recent manifestations, and in the contexts of production and consumption. Fifteen case studies explore the artefactual nature of writing — the ways in which materials, techniques, colour, scale, orientation and visibility inform the creation of inscribed objects and spaces, as well as structure subsequent engagement, perception and meaning making. Covering a temporal span of some 5000 years, from c.3200 BCE to the present day, and ranging in spatial context from the Americas to the Near East, the chapters in this volume bring a variety of perspectives which contribute to both specific and broader questions of writing materialities. The authors also aim to place past graphical systems in their social contexts so they can be understood in relation to the people who created and attributed meaning to writing and associated symbolic modes through a diverse array of individual and wider social practices.

"Even though most physicists believe that the speed of light is as fast as anyone can go, Einstein's theory of special relativity does not rule out faster-than-light (FTL) travel. On the contrary, it seems to indicate that certain superluminal or FTL effects would permit us to re-experience the past: time travel would become a reality, not science fiction. Through this crack in the cosmic egg steps Herbert, a Stanford physicist and author of Quantum Reality, who summarizes clearly current speculation and theory about faster-than-light travel. Along with space warps, black holes and tachyons (hypothetical FTL particles), he looks at the so-called 'quantum connection'—an alleged force said to instantaneously link any two subatomic particles long after they have bumped into each other. Free of the woolgathering that tints much writing on the 'new physics', this brave, exciting book should send scientists back to their drawing boards; for the nonspecialist reader, it reveals a world much stranger than Star Trek."—Publishers Weekly "Original, challenging, and audacious."—San Diego Magazine