Our social unity is under attack from extremists on opposite sides of the political spectrum. Often the loudest and most influential public voices today are also the most divisive. Amid the din of conflicting claims, accusations, and counteraccusations, voices of moderation can no longer be heard. Radical speech is creating hazards for civil discourse and even for governance. Under such conditions, how will we ever find common ground to advance the needs of the nation? Psychologist John W. Reich presents answers to this question in this insightful discussion of the social-science research on the decision-making processes of those who endorse extremist beliefs. A key finding of this research is that extremism causes selective hearing and biases our very ability to form objective judgments. In fact, radical speech leads to radical hearing and impedes our willingness to consider moderate viewpoints. Based on these findings, Reich presents seven principles whereby we can reduce or eliminate the toxic influences of extremist rhetoric and selective hearing. These include becoming aware of how emotion affects our judgments, accepting the fact that we live in a diverse society where differing points of view are common, and detecting when extremist rhetoric is designed solely to attack its opponents. If knowledge is power, then the best antidote to toxic speech is increased scientific understanding of how our judgments are formed. By making the latest social-science research on this important subject accessible, Radical Distortion takes a crucial first step toward creating a more civil society.

First published in 1971, Ionesco is a study of the plays written by the absurdist playwright Eugene Ionesco. Eugene Ionesco’s play La Cantatrice Chauve, first presented in 1950, established him as one of the most provocative leaders of post-war ‘Theatre of the Absurd’. By 1970, his work had been performed by leading actors and companies all over the world. The author attempts to understand this enigmatic playwright and his plays, while trying to explore the reasons behind his quick popularity. This book will be of interest to students of literature, drama, philosophy, and history.

Perturbatory narration is a heuristic concept, applicable both quantitatively and qualitatively to a specific type of complex narratives for which narratology has not yet found an appropriate classification. This new term refers to complex narrative strategies that produce intentionally disturbing effects such as surprise, confusion, doubt or disappointment ‒ effects that interrupt or suspend immersion in the aesthetic reception process. The initial task, however, is to indicate what narrative conventions are, in fact, questioned, transgressed, or given new life by perturbatory narration. The key to our modeling lies in its combination of individual procedures of narrative strategies hitherto regarded as unrelated. Their interplay has not yet attracted scholarly attention. The essays in this volume present a wide range of contemporary films from Canada, the USA, Mexico, Argentina, Spain, France and Germany. The perturbatory narration concept enables to typify and systematize moments of disruption in fictional texts, combining narrative processes of deception, paradox and/or empuzzlement and to analyse these perturbing narrative strategies in very different filmic texts.

Digital Negatives with QuadToneRIP is a text that fully explores how the QuadToneRIP printer driver can be used to make expert digital negatives. The book takes a comprehensive, Òunder-the-hoodÓ look at how Roy Harrington’s QTR printer driver can be adapted for use by artists in several different creative practice areas. The text is written from the Mac/Photoshop point of view. The book is divided into three parts. Part One is a step-by-step how-to section that will appeal to both beginning and more advanced practitioners. Part One includes quickstart guides­ or summary sheets for beginning students who want to jump into using QTR before understanding all of its functional components. Part Two addresses dimroom, darkroom, and printmaking practices, walking the reader through brief workflows from negative to print for lithium palladium, gum bichromate, cyanotype, salted paper, kallitype, silver gelatin and polymer photogravure, with a sample profile for each. It also includes an introduction to a new software iteration of QTR: QuickCurve-DN (QCDN). Part Three is devoted to contemporary practitioners who explain how they use QTR in their creative practice. The book includes: A list of supplies and software needed A summary QTR glossary with a simple explanation of how each function works A sample walk-through to create a QTR profile from start to finish How to linearize profiles with simple to more exacting tools A visual guide to modifying functions Quickstart guides for many of the workflows Instructions for crafting monochrome, duotone, tricolor, and quadcolor negatives Instructions for using QTR to print silver gelatin in the darkroom Instructions for using QTR to print alternative processes in the dimroom Instructions for using QTR to print polymer photogravure in the printmaking room Introductory chapter to QuickCurve-DN software Troubleshooting common QTR problems Generic starter profiles for processes discussed Contemporary artists: their work and QTR process. Learning how to craft expert digital negatives can be a bit overwhelming at the outset. Digital Negatives with QuadToneRIP makes the process as user-friendly as possible. Like other books in the series, Digital Negatives with QuadToneRIP is thoroughly comprehensive, accessible to different levels of learner, and illustrative of the contemporary arts.

Is the historical novel the outmoded genre that some people imagine--form inseparable from romanticism, nationalism, and the nineteenth century? In this stimulating volume, Margaret Scanlan answers a convincing "no," as she demonstrates the relevance of historical novels by well-known figures such as Anthony Burgess, John le Carr, Graham Greene, Doris Lessing, Iris Murdoch, and Paul Scott, as well as by less well established writers such as Joseph Hone and Thomas Kilroy. Scanlan shows what a skeptical, experimental approach to the relationship between history and fiction these writers adopt and how radically they depart from the mimetic conventions usually associated with historical novels. Drawing on contemporary historiography and literary theory, Scanlan defines the problem of writing historical fiction at a time when people see the subject of history as fragmentary and uncertain. The writers she discusses avoid the great events of history to concentrate on its margins: what interests them is history as it is experienced, usually reluctantly, by human beings who would rather be doing something else. The first section of the book looks at fictional representations of England's difficult history in Ireland; the second examines spies, aliens, and the loss of public confidence; and the third probes the theme of Apocalypse, nuclear or otherwise, and depicts the collapse of the British Empire as an instance of the greatly diminished importance of Western culture in the world. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Following up on his previous book, Violence and Phenomenology, James Dodd presents here an expanded and deepened reflection on the problem of violence. The book’s six essays are guided by a skeptical philosophical attitude about the meaning of violence that refuses to conform to the exigencies of essence and the stable patterns of lived experience. Each essay tracks a discoverable, sometimes familiar figure of violence, while at the same time questioning its limits and revealing sites of its resistance to conceptualization. Dodd’s essays are readings as much as they are reflections; attempts at interpretation as much as they are attempts to push concepts of violence to their limits. They draw upon a range of different authors—Sartre, Levinas, Schelling, Scheler, and Husserl—and historical moments, but without any attempt to reduce them into a series of examples elucidating a comprehensive theory. The aim is to follow a path of distinctively episodic and provisional modes of thinking and reflection that offers a potential glimpse at how violence can be understood.

Classical physics states that physical reality is local--a point in space cannot influence another point beyond a relatively short distance. However, In 1997, experiments were conducted in which light particles (photons) originated under certain conditions and traveled in opposite directions to detectors located about seven miles apart. The amazing results indicated that the photons "interacted" or "communicated" with one another instantly or "in no time." Since a distance of seven miles is quite vast in quantum physics, this led physicists to an extraordinary conclusion--even if experiments could somehow be conducted in which the distance between the detectors was half-way across the known universe, the results would indicate that interaction or communication between the photons would be instantaneous. What was revealed in these little-known experiments in 1997 is that physical reality is non-local--a discovery that Robert Nadeau and Menas Kafatos view as "the most momentous in the history of science." In The Non-Local Universe, Nadeau and Kafatos offer a revolutionary look at the breathtaking implications of non-locality. They argue that since every particle in the universe has been "entangled" with other particles like the two photons in the 1997 experiments, physical reality on the most basic level is an undivided wholeness. In addition to demonstrating that physical processes are vastly interdependent and interactive, they also show that more complex systems in both physics and biology display emergent properties and/or behaviors that cannot be explained in the terms of the sum of parts. One of the most startling implications of non-locality in human terms, claim the authors, is that there is no longer any basis for believing in the stark division between mind and world that has preoccupied much of western thought since the seventeenth century. And they also make a convincing case that human consciousness can now be viewed as emergent from and seamlessly connected with the entire cosmos. In pursuing this groundbreaking argument, the authors not only provide a fascinating history of developments that led to the discovery of non-locality and the sometimes heated debate between the great scientists responsible for these discoveries. They also argue that advances in scientific knowledge have further eroded the boundaries between physics and biology, and that recent studies on the evolution of the human brain suggest that the logical foundations of mathematics and ordinary language are much more similar than we previously imagined. What this new knowledge reveals, the authors conclude, is that the connection between mind and nature is far more intimate than we previously dared to imagine. What they offer is a revolutionary look at the implications of non-locality, implications that reach deep into that most intimate aspect of humanity--consciousness.