Virginia Gentleman Loser / Code Monkey x hacker > Now, Life hacker LIFEHACKER July 2, 2010 Oi! Cookout Cook Out Tampa/Clearwater/St. Pete Le Roux DubStep Dub Step*bump*
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x hacker > Now, Life hacker LIFEHACKER
July 2, 2010 Oi! Cookout Cook Out Tampa/Clearwater/St. Pete Le Roux DubStep Dub StepTones On Tail
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midnight * oil * blue * sky * mine * ghost * doom * nouzille * musique * punk * australie And do call on Sunday for tea
What do pinups, girl reporters, wimmins libbers and riot grrrlz have in common? Why British Girls' Comics Were Wonderful. LOVE , ROMANCE, MARRIAGE & DIVORCE: OLD GIRLY COMICS. History of Comic Books Written by the Losers.
PIN-UP CHEESECAKE CALENDER ART @@ HEADLIGHTS
Oddball Weirdo Art For the afficionado of high-camp, non-politically correct and, sometimes, incredibly deranged graphic design & art. Also catering to the obssesive/compulsive/fetishistic impulse of some collectors to obtain only a certain type of art.
What do pinups, girl reporters, wimmins libbers and riot grrrlz have in common? A nice lot of different Silver or Bronze Age, (1960's &1970's) DC & Charlton romance comic books. The DC romance comics of late sixties and early seventies had absolutely gorgeous art and the stories were sophisticated and very mod in their reflection of the new morality of the times: inter-racial love and unwed mothers, as well as thinly-guised allusions to prostitution and lesbianism. The Charlton romance comics of the same era were probably the absolute worst comics ever produced. Each issue gave the impression that, after having blown the entire monthly budget on a beautiful cover, the editors parceled out the interior pages for peanuts to very talented high school student relatives of the staff. On top of the bad art, Charlton used mechanical lettering, which contributed chilliness to their pages. Sudsy soaps with torrid titles like Love Thy Neighbor and The Hippy and the Cop promised more than they delivered. With dismal stories and hideous art, Charltons truly are undiscovered gems if you like oddball weirdo comics. In romance comics prior to 1965 the most a woman could aspire to was the position of nurse, private secretary or model. And they always gave it up anyway to get married and become housewives. The entire country had changed drastically by the mid-sixties and romance comics tried to keep up with the change and failed miserably. Although our heroines moved up in the world; they evolved from working-class waitresses and housewives into college students, airline stewardesses, rock stars and models the stories remained mostly the same . some fetching, lush-lipped heroine, tear in her eye, agonizing over - something - a lost love, a lost job, parents who just dont understand, sexist pig boyfriends, back-stabbinb!tches. Some of these comics got pretty sordid or as sordid as they were allowed to exist in those days. Cheating, underage sex, wild parties, bad crowds: these topics were still somewhat taboo at that time. Often the art featured classic good girl art featuring headlights, spanking panels, slapping panels, shower scenes, negligee panels, etc. An even seemier story appears in from the .issue of Interesting "generation gap" comics emerged as the publishers tried to appeal to mid-to-late teenage girls The writers wanted to be "with it" but in many cases just didn't know quite how. Unfortunately, in a desperate attempt to be hip, the stories read as though they were written by clueless 45 year old men. Which they were. The results are unintentionally hilarious. Embarrassingly pseudo-hip dialogue such asI cant pick just one. On every page someone says something incredibly strange. Its allsimplytoomuch. Youll be beside yourself saying, Did I just read that correctly? I cant believe Im reading this. Is this how it really was? They couldnt have actually done, said or wore those things. Its all just soalien. And they thought it was cool. Haircuts, fashion and slang in these comics captures that tasteless late-1960s to mid-1970s era of groovy hippies and hot disco music. These types of comics are the source of the generic pop art look seen today on hundreds of campy T-shirts, cups, greeting cards, kitchen magnets and Roy Lichtensteins Ban-Day dot oil paintings. A virtual treasure trove of clip art. Real corny period pieces. A sociology student could write a thesis and a fashion student could find inspiration. The rest of us are ROTFL. These books are still unresearched in the Overstreet Comic Book Price Guide for the most part.Joe Gill, who wrote most of Charltons romance comics, says he always felt a responsibility to keep the stories clean and moral. I knew what I was writing was being read by young, impressionable peopleand I didnt want to corrupt them. You know, virtue has its own rewards(laughs) and all that s-t. Television changed all the values of the (subsequent) generationsenormously. They found out about sex and drugs. It was pretty sordid. And these harmless little comics had no place in their lives. The books were looked at with the same derision as Harlequin books and TV soap operas. Gill remembers that, I worked for Stan Lee way back when and as assignments were getting rarer he offered me some romance assignments - and I wouldnt do them. I thought they were sissy stuff. Id rather go work on the docks. Later, of course, with a family to feed, Gill changed his mind and while at Charlton went on to become probably the most prolific romance-comics writer of all time.
History of Comic Books Written by the Losers
by: trans_global_comics_and_magazines
Comics | Books | History | Art | Geeks
History of Comic Books Written by the Losers
Around a century after their inception, comic books remain popular due to the ardor of their fans and the hard work of writers, artists, and editors. But in the vast universe of graphic literature, there exists an oft-overlooked group of dedicated individuals who devote their ample free time to collecting, debating, and publishing the minutiae of the funny book genre. They are the losers who write sequential art’s rich and storied history.
Twenty-eight year-old Carstairs Bagly, Jr. spends a Friday night cataloging his comic book collection on a computer spreadsheet. "Charlton comics are about more than just a third rate, mob-connected publishing grind-house and it's certainly about more than Steve Ditko or early Jim Aparo and John Byrne artwork," said Bagly, Jr., a comic book historian. "The blasted heath where once stood the ancient presses in Derby, CN. is full of history, but Charltons are still vibrant right now on ebay. Someone needs to record all the amazing things that went on, even if it means that person will never have a social life."
For Bagly, Jr., comic books are the only topic of conversation and the only form of entertainment. While other men his age go on dates or enjoy the sunlight, Bagly, Jr. haunts the rear corners of local comic shops like Things Your Mother Threw Out, where he squats alone, hunched over long boxes of old and mildewy comics. During the day, he works in his windowless bedroom compiling facts about comic book history for his web site, CavalcadeOfCrap.com.
"Comic books are so important to me," Bagly, Jr. said, gesturing to a mountain of boxes where he files his comics. On a table next to him is a large stack of notebooks of all the internet forums he regularly posts on and detailed transcriptions of interviews with artists and writers whom he has met at comic conventions. "If I couldn't write about comics and collect comics, I have no idea what I'd do instead."
The social misfits who chronicle comic books seek not only to log facts, but also to influence public opinion about obscure comic book issues, something most people care little about. "Joe Lunchpail would say Action #1 by Siegel and Shuster was the first real comic book, but that's dead wrong," said Pfaf Hufnagel, a line cook in Salisbury, MD, who occasionally writes for Geek magazine and has a collection of more than 10,000 comics. "Action #1 just brought the comics to the mainstream. Anyone who knows anything will say the first comic was either Obadiah Oldbuck or The Yellow Kid. Added Hufnagel: "Old Mother and her Funny Kitten was actually printed earlier but due to a distribution problem, was released later, in case you didn't know."
From covering comic books for a local newspaper to distilling comic book's history into an 800-page book, the historians of comic books soldier on, despite their negligible impact on the direction or quality of comics itself.
"When you're writing comic book history, you have to make some hard choices," said Mulchrome Ditweiller, one of the editors of …For Your Oddball, Weirdo Needs. "Do you give equal space to influential artists like Dan DeCarlo, Herb Trimpe and Mort Lawrence, even though they're not as well known as L. B. Cole, Matt Wagner and Nick Cardy? Making a decision like that can take an entire weekend of soul-searching." "I don't mind, though, because I love comic books," added Ditweiller, slipping a Dotty Dripple and Taffy just to the right of Double Action Comics in the Golden Age section of his comic book collection. "Comic books are just so spontaneous and full of life."
Not all comic book history is comprehensive. Many comic book historians choose to focus on individual artists who can barely tolerate the authors when they meet. In-depth comic book bios have been written about artists ranging from Pat Morisi to Nicholas Alascia, with biographers desperately trying to attain coolness by association with their subjects. "Young Romance was a crucial comic for its time," said Ochiltree Jark, author of Pin-ups, Girl Reporters, Wimmin’s Libbers and Riot Grrrlz: The Adventures Of Women In The 20th Century. In romance comics, the most a woman could aspire to was the position of nurse, private secretary or model. And they always gave it up anyway to get married and become housewives. If you have a couple hours, I'd be happy to talk at you about it."
Although comic book historians provide a valuable service to comic book fanatics, Princeton sociology professor Hutchcock McDolphus said that their focus on comic books hinders their accumulation of knowledge in other areas. "From discussing long-defunct comic book publishers to analyzing the impact of a comics personnel changes, comic book historians cannot see beyond their acne-scarred noses to realize that there are interesting subjects in the world besides comic books," said McDolphus, a self-professed "ex- comic book nerd." "If you ask them who the U.S. attorney general is, or what's going on in the park around the corner, you'll get a blank stare. But ask which philosopher Steve Ditko worshipped at the feet of or who Joe Tuska punched out in the artist’s bullpen, and you'll have to dodge all the flying spittle from everyone trying to be the first to answer."
Added McDolphus: "It was Ayn Rand and some prankster…I forget who, exactly."
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If Not Superheroes, What? - Romance Comics?
by: trans_global_comics_and_magazines
comics | books | history | girls | romance
If Not Superheroes, What? - Romance Comics?
One comics form, though it enjoyed a decades-long history, became a casualty to the changing mores of the culture (in addition to the other vectors that lead comics to extinction). The perceived obsolescence of the monogamistic ideal, as viewed through the selective lens of the sexual revolutionary, rendered tales that idealized old-school approaches to pair-bonding themselves obsolescent. Sometime between the fifties, romance literature (including prose and comics) would shift from fantasies about meeting and marrying Prince Charming to fantasies about husbands who conveniently die to clear the field for the newer, younger, and more interesting Prince Charmings (see publishers like Harlequin, et al). In the process, comics fans - which, over time, increasingly comes to mean superhero comics fans - came to view romance comics with a sneer, in spite of a much more solid grounding in reality and an overall greater relevance to readers even vaguely within the gene pool. Examined as literature, however, the romance comic does not necessarily have less to offer, storytelling-wise, than, say, the superhero comic; it just averages a more plausible wardrobe all around, a few less space aliens, and sound effects less likely to rouse the children from their naps. And, as with other specimens of the other comics - the pieces that once existed before superhero comics consumed the market - the romance comic generally played a variation of one of a set of fairly reliable themes.
Origins
A great die-off of superheroes began with the end of World War II. The loss of military contracts to provide disposable reading matter to servicemen overseas ate into sales figures; the aging of a readership in a day when one generally considered teenagers too old for reading comics moved domestic patrons out of the market; and, of course, not all heroes had what it takes to create an enduring readership. If the superhero ailed in those days, comics creators themselves kept moving to attempt to present material that would engage readers and, therefore, move off the news stands. Sometimes existing genres rose into the vacancies created by expiring superhero material; sometimes publishers crowded out failing heroes to make way for other, theoretically more commercial material. In this era, we saw as a defining event the eviction of Green Lantern from his own title to make space for a wonder dog strip. After the end of the war, popular interest somewhat shifted from martial concerns (say, costumed heroes) to domestic ones (say, radio serials and movies dealing with romance). Radio, television, and theater consumed increasing chunks of recreation time in the decade immediately following the end of the War, and two innovative talents from the thirties and forties - Joe Simon and Jack Kirby - decided to test the waters of romance in comic book form in 1947. For its moment, the form would flower, even spawning sub-variants such as cowboy romance material and Black romance comics. And the flagship romance comic, Young Romance, would endure through over 200 issues and over 20 years, spanning more than one publisher in the decades of its existence.
Conventions
False confessions became an early conceit of the romance comics back in the day when the entire genre belonged to its creators, Simon and Kirby. Given the fictional device of first-person narration combined with the relentless maleness of the two creators, one can see as inevitable that a certain amount of fraud (of the kind absolved by willing suspension of belief) would originate with comics with female protagonists. Magazines with titles like True This and Real That led the way for this approach. Moralism also played a central role, as it would in a number of comics forms that predated the Code that arose to address the immorality of the form. Characters met bad ends in proportion to the bad deeds they perpetrated; blackmailers and scoundrels could expect disgrace, jail, or even death so reliably that one would assume moral laws drove the physics of comics. One may also note that, since the romance comics barely endured into the seventies, that the morality they depicted resounded with pre-sexual revolution themes. Hence a norm of hetero-monogamy prevailed. This provided the third key element: The monogamistic happy ending that stood as the Mecca all characters seemed to seek in the romance comics. In an age where Everyman seemed to view marriage as central to long-term happiness - certainly an arguable position - all tales sought, and either achieved or failed to achieve, this goal. With some combination of the three principle conventions of the form, romance comics furthermore explored tales which typically fell into categories such as Cinderella fantasies, near escapes, tragic endings, fantastic redemptions, and just deserts.
Cinderella Fantasies
A harsh commercial of an earlier decade featured a young girl, playing with some dolls, and babbling on about how a prince would someday take her as his wife and solve, once and for all, her material needs. This particular gem of advertising ended with the claim that the young heroine could expect to appear on the welfare rolls with a head full of such fantasies. While one might well invite the authors of such shock-and-naysaying material to lighten up or at least leave the pessimism at home a few days out of the year, the Cinderella Fantasy does still offer a sometimes-destructive lure to females in a variety of cultures. The fantasy tends to do its damage by training young people to expect a Prince Charming - a kind of deus ex machina but with money and big pectorals - to make everything right. While one focuses one's strategies on waiting for unlikely happenings such as the timely appearance of a Prince, one does not invest in a future made better through one's own efforts; and this applies across lines of sex, gender, or whatever folks call it these days. Preparing for the worst does more good than idling away time hoping for the best without human effort to back it up. The romance comic originated in a day where western culture offered many fewer opportunities for self-reliance for females, and quietly expired in a period that suggested new possibilities. Perhaps the perceived "corniness" of Cinderella-fantasy material helped bring the romance comics down; and perhaps such fantasy became less and less relevant. The publishers of the pure-prose bodice-ripper don't seem to think so, however.
Near Escapes
The near escape story enjoyed a flexible range of components, depending on the thing from which our protagonists - typically female - needed to escape. Their own pasts, simple bad luck, or the schemes of wicked rivals for a partner's affections (or of wicked contenders for their own) provided the raw material for the near escape story. Temptation frequently played a central role in stories of this sort. Partially because this helped real people to relate to fictional stories, and partially because too much strength of character can make players dishwater dull, our stalwart heroines risked falling into the gap between what they wanted, what they could have, and what they should have, a differential frequently thrown into contrast by desires for material security or simple devotion from a tenuous partner in love. However, the moral determinism of many comics - the poetic justice that could, if necessary, overturn natural law - ultimately righted wrongs brought about by the evil intent of characters in the romance comics. So, if one looks at contemporaneous material, one can see a common pattern of karmic retribution. The Comics Code Authority did not invent this morality; it just codified it as an editorial standard with the power of preemptive censorship for material that failed to comply.
Tragic Endings
On one level, romance comics dared take a more adult approach than many other forms of comics, including the earlier and later superhero comics. Free from the burdens created by combining a shared universe/continuity model with an ongoing monthly publishing schedule, the romance comic could, if the story required, kill off major players (who, we must admit, probably never appeared before and almost certainly would never appear again anyway). This gave a freedom lacking from comics forms that use editorial models that claim to allow for or even require change yet must not dispose of the intellectual properties that move the books in the first place. A widow or ex-lover could relate the details of the event which forever separated her from her beau. The five-and-ten pager, after all, allowed creators to reach for effect rather than requiring them to build on a canon of stories. If the tone writers and artists sought required the Loving Husband to die saving the world from the Hun so that his bereaved could get maudlin and reflect on an idealized version of a short yet intense marriage, they could slaughter with impunity.
Fantastic Redemptions
Although wickedness tended to bring characters to well-deserved bad ends, plenty of stories allowed once-wayward characters a chance to redeem themselves from a past not always fully of their own creation. Variants of the Reform School Girl Romance and the Poor Girl Transcends Her Humble Origins made for a consistent fodder of the romance comics. In general, though, these stories deal with either reformed characters - meaning protagonists with a seedy past but a fairly upright present or those who, in the present, do little worse than attempt to conceal a long-past seediness lest it wreck their futures. And they also conveyed a moralistic, and frequently unrealistic, message about the concrete and external benefits due to those who reform on an abstract and internal level. With this kind of story, the wish-fulfillment element of the romance comics shows more strongly than in many of the other versions.
Just Deserts
Wicked women and scandalous rakes both appeared, as a kind of ferment, in many tales of the old romance comics. Without the Serpent in Eden, after all, the story amounts to little more than two people picking fruit off trees all day and trying to invent new ways to combat the ever-mounting boredom. Someone has to make trouble or nothing might ever happen. [Misbehaving beaux and belles, as staples of the form.] As well, the Just Deserts model of romance comics story served its wish fulfillment aspect rather well. People whom others have wronged, after all, may wish to see some of the suffering bad people inflict return to them rather than fall exclusively on the shoulders of the innocent and the exploited. Typical romance-comics offenses include mate-stealing; mate-killing, to replace an older model with a newer one; concealment of an ongoing lurid or criminal double life; and a repertoire of methods for ruining the lives of married couples for the sake of attempting to have more than one deserves. The moralism of the form makes itself well-felt here. Ignore the nihilism of twentieth-century classical prose pieces like Kafka's "The Metamorphosis;" the rogue and the vampire (in the old sense of the term, used to label a woman as greedy and parasitic) either found themselves alone, or in jail, or even dead.
The Fate of the Form
A multi-tiered attack ultimately caused the romance comics, after a quarter of a century, to disappear from the news racks. No one of these forces killed off the form - indeed, it could resurface someday - but the combination of factors working against this genre ultimately smothered it under its cumulative weight. A changing morality made their moral emphasis appear quaint and dated (by modern standards, the emphasis on hetero-monogamy might appear positively malign); the reward of home and hearth began to seem irrelevant or even a form of bondage; across all genres, comics had suffered in the mid and late fifties from factors including growing disinterest and a censorship of prior restraint; the post-Stan Lee comics would preempt somewhat the romance theme by allowing superheroes solid romantic connections; and, finally, the superhero comic would come to dominate the aesthetic ecosystem of the form to the point of crowding out other material, regardless of genre.
The Talent
Names that one normally doesn't associate with the romance comic, since they attach to other, previous or subsequent, achievements, belong in the canon of romance comic talent, including its inventors, Joe Simon and Jack Kirby. Observers of the medium suggest that a number of canonical figures of fifties and sixties comics (or that got their start there) did so in the early romance comics, acquiring a different set of skills than required by the superhero stories that once propelled the medium. Names like Matt Baker, Frank Frazetta, Everett R. Kinstler, Jay Scott Pike, John Romita Senior, Leonard Starr, Alex Toth, and Wally Wood belong in this set (according to Jim Korkis in Teen Angst). Some would go on to distinguish themselves in other genres, including, but not limited to, the ubiquitous superhero form. We can add other names to this. Marie Severin, for instance, described one Marvel job she received doctoring old romance comic pages from the sixties to make the clothes more appropriate for 1970, installing details like flared trouser cuffs and pointy collars (a task of considerable tedium). A particular set of talents developed in the romance form, including skills not always acquirable in today's superhero-dominated comics market. In a romance comic, the credibility of characters and settings assumes an importance generally foreign to more fantastic genres: Anatomy that never occurs in nature, clothing that would violate the dress code of a circus, and facial expressions that fall into two categories (snarl and non-snarl) would all ruin the plausibility of a romance comic. So artists learned to bring out the nuances of emoting faces, the detail of conventional clothing, and human bodies that suggested the beautiful but not the impossible. Using Romita as an example - if an exceptional one - we can note that his assumption of the artistic role on Amazing Spider-Man saw an increasingly expressive set of characters and a definitely more beautiful female (and, for that matter, male) cast. Romita may not have worked in the wildly imaginative manner typical of Ditko on pieces like Dr. Strange stories, but he certainly brought a great deal to the books he worked on, regardless of the subject matter, and the best things he brought seemed relevant to his romance comics background. Owing to the small footprint that romance comics seems to have left on fandom - the superhero form dominates fandom in a way that leaves some of the once-diverse comics medium to the attention of scholarly historians of the subject - locating a canonical list of the artists and writers who made their careers on this material represents a problem of the very availability of the information.
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I've been boning up on
Kuhn's Paradigm Shift Theory of 1962
and came upon the realization that:
"I can make money off this."
So, I made some notes and came up with:
[u]Capitalizing on Paradigm Shifts[/u]
Just come up with a list of locks of things to
get in on the ground floor, inexpensively,
so as to minimize the risk and maximize the net.
Buy low. Sell high. Sooner or later.
People are going to start having "7of9" blackberry earphones/earpiece "earwigs" headsets
The coming paradigm shift in TV broadcasting - iPod
Just to make sure we're all on the same page, here's a clear definition of the phrase, which was coined by Thomas Kuhn in his ground-breaking 1962 book, The Structure of Scientific Revolutions:
"Think of a Paradigm Shift as a change from one way of thinking to another. It's a revolution, a transformation, a sort of metamorphosis. It does not just 'happen', but rather it is driven by agents of change."
The paradigm shift I refer to is being driven by LUXXXCORP in response to technological, competitive and market forces, and it has three major aspects:
* End of the rat race, replaced by multi-core processor development.
* A focus on performance-per-keystroke and efficiency.
* New ways of assessing and ranking performance.
A paradigm (pronounced "paradime") is a world view. We all look at the world around us in accordance with a certain paradigm. The paradigm we use depends on what we believe is reliable and true. Scientific materialism is a very powerful paradigm that many people use today to find answers to some of the issues that face humanity.
But does this paradigm really explain our world?
We believe that it cannot and hope that this web site will help you to experience a paradigm shift that will change the way you look at the world.
Introduction
A paradigm is a world view that controls the way we understand the world in which we live. A paradigm shift occurs when the dominant paradigm is replaced by a new paradigm. Some examples of paradigm shifts are given below. One of the most significant paradigm shifts occurred in science when the paradigm that united all truth into one was replaced by a paradigm that separated the revealed truth of the Bible from scientific truth. Newton wrote that, "He was thinking God's thoughts after him.", because he saw scientific investigation as a branch of Biblical truth. This paradigm has been replaced by today's methodological naturalism. The problem with today's paradigm is that science has become the only means of determining truth. There is no way to evaluate the claims of modern science. However, we believe that there is a need to evaluate the conclusions of scientists by measuring them against absolute truth as revealed to us in God's word, the Bible.
Geocentrism to Heliocentrism
In 1610 Galileo pointed his telescope at Jupiter and observed the orbits of four of its moons. He believed that there was a force (which we now call gravity) that keeps the moons of Jupiter in their orbits and the same force could keep the Earth's moon going around it as the Earth moved around the Sun. His observations convinced him that the Earth orbits the Sun along with the other planets. Thus Galileo refuted those who believed that the Sun and all the planets orbited the Earth. On the basis of his scientific observations Galileo became a heliocentrist.
However the consequences of this paradigm shift was even went far beyond astronomy; not so much because of the change that occurred but why it occurred and who opposed it.
The Church opposed this scientific change not because it had a biblical position but because it defended an Aristotelian system of science that stated that the Earth was the centre of the universe. Galileo and others believed that science was a higher authority than the church's. As a consequence the authority of the Bible was undermined.
Catastrophism to Gradualism
During the 17th and 18th centuries the dominant geological paradigm was catastrophism. The catastrophists, like Cuvier, believed that the geological features of the Earth were the result of many catastrophic events, one of which was the worldwide flood in the days of Noah.
However, by the end of the 18th century people were starting to propose new ideas. Hutton and Lyell were two leaders of this paradigm shift. They proposed that the geological features had not been formed quickly as the result of a series of catastrophes. Their new paradigm was one of gradual change. They argued that geological features were the result of processes that are occurring all the time. The gradual processes of erosion and deposition could if given enough time produce the many layers of sedimentary rock that the catastrophists said were formed quickly. The gradualists explained away the global flood of Noah that we read about in the Bible and other ancient writings.
Creation to Evolution
The 19th century was one in which people's confidence in the Bible was undermined. The paradigm shift in geology meant many people believed the Earth was millions of years old. The way was open for a Darwinian explanation of biological origins. The theories of evolution that where popular during the early 19th century required a lot of time. The gradualists geologists gave evolutionary theorists the time they needed. Darwin provided a mechanism for the origin of species. Natural selection could if given enough time produce all the modern species of plant and animal. There was no need for God to create each kind of animal.
Faith in God to faith in science
These and many other paradigm shifts have marginalised and finally eliminated God. People today have faith in science. The technological achievements brought about by modern science have demonstrated its power to provide answers. Faith is under attack and the Bible is undermined. Even prominent figures in the church argue for evolutionary interpretations of the scriptures. We are ceaselessly bombarded with the "fact" that the universe, the world and all that is in it is the result of purposeless processes. The media and state education are part of the system that has been used by Satan to promote atheistic science to blind people to the fact that God made everything. God no longer serves any purpose and the scientists of today have declared him to be dead. Yet the Bible still speaks today and tells us that
God's invisible qualities - his eternal power and divine nature - have been clearly seen, being understood from what has been made.
OLD PARADIGM
NEW PARADIGM
Beliefs
Based on Bible
Blend of New Age & earth-centered religions
Culture
Western individualism
Global solidarity
Values
Based on the Bible
(absolute, unchangable truth)
Based on human idealism
(easy to manipulate)
Morals
Moral boundaries
Sensual freedom
Rights
Personal freedom
Social controls
Economy
Free enterprise
Socialist collective
Government
By the people
By those who control
the masses
A Metaphor for a Worldwide Paradigm Shift
Major World Mind Change as a Paradigm Shift in Our Time. The Process of Paradigm Shift. The Process of Change and the Community Metaphor. Land's S-Curves
Paradigm Shift - Magick, Music, and Media
An online journal of cutting-edge interviews and articles about music, magick, media, hypnosis, NLP, entheogens, consciousness
Thomas Kuhn gave us an interesting and provocative book in his Nature of Scientific Revolutions, in which he described science, under the stimulus of new discoveries, as making a radical change in its philosophy or basic assumptions.
The idea is appealing and it did seem that there were several such shifts, beginning with the Copernican "revolution," in which, supported by the labors of Tycho Brahe, Galileo, Kepler, and Newton, it was realized that the earth revolved around the sun and not the contrary.
But as I've elsewhere shown, this was rather the beginning of Western science, the emphasis on experiment and fact as the basis for theory, instead of authority.
However, it was assumed by Kuhn, and we all agreed, that Planck's discovery of the fact that light is radiated in quanta of action all of the same "size," rather than as energy, created a new paradigm. This discovery was the first clue to the true nature of light, previously thought to be waves in an ether. These waves were thought to spread out in all directions and diminish as the square of the distance. The change was revolutionary, and dispensed with the need for a medium (the ether) to carry the waves (much as sound is carried by waves in the air). It introduced quantum physics, and the quantum was found to account for other enigmas.
One especially was that, according to classical physics, the revolving electron should radiate and thus lose energy and fall into the nucleus. Bohr realized that since to radiate it had to do so in quanta, the electron could not radiate unless it changed to an orbit having different angular momentum. (The quantum is a unit of angular momentum; it can have any amount of energy, always associated with a period of time such that the energy multiplied by the time is a constant.)
This contribution of Bohr was accepted by the scientific community to apply to quantum phenomena, but it did not occur to anyone to question the classical view. This I have done recently in my short essay "Confusion in Science," where I can find no basis, theoretical or empirical, for the concept that an accelerating electron radiates energy. Apparently this concept was based on a confusion between accelerating and causing acceleration. Thus the driver of a vehicle says he "accelerates" it -- a figure of speech that is permissible because the driver does cause the acceleration to occur. But it is the engine that accelerates the car, and a scientific account should distinguish controlling acceleration by starting and stopping from acceleration itself. Acceleration is the second derivative; change of accleration is the third derivative, much as acceleration is change of velocity, and science is based on these distinctions. The scientist might say the control by the driver is a human option and outside of science, but the fact that a guided missile not only controls its acceleration but is guided to do so by the moving target makes it imperative that the third derivative be recognized.
So there is no support for the classical view of radiation, and the fact that the quantum of action made this view obsolete was ignored. Instead it was decided that the laws of classical physics and the laws of quantum physics, since they differed in these two domains, required a division of science into classical and quantum.
There was little justification for this split. Now it is true that thermodynamics -- which, since it deals with billions of molecules, each undergoing random motion, has to be predicted by probabilities, whereas each molecule is subject to exact laws -- does justify a distinction. This is not the case with radiation. All radiation, quantum and classical, originates in quanta.
But the fact that the classical view was retained shows that despite quantum physics there was no paradigm shift. This is borne out by other aspects of quantum physics.
(1) One such is that the nature of light was still not understood. The classical view that it was waves in an ether gave light some objectivity. It was the notion of something at least semi-material, and it did not occur to scientists that since the quantum of action, or photon of light, was without rest mass, without charge or other material properties, outside of time (clocks stop at the speed of light), and indifferent to space because a photon from Sirius retained the same energy it has when leaving Sirius, that the quantum had no objective existence.
The complete confirmation of the non-objectivity is that no two persons can see the same photon. Its detection on a photographic plate annihilates the photon, so there is nothing left to predict. Even in the photoelectric effect, in which a part of the photon's energy is annihilated, the part that remains is a new photon with its own complete uncertainty.
But all such was ignored. Science retained its basic credo, that the world is exclusively objective. This again shows that there has been no paradigm shift.
(2) Another piece of evidence that is of special interest because it came before quantum physics was the use in relativity of an event to replace the previous notion of a point. An event occurs in time, so it includes the so-called fourth dimension.
The past and the future are the same -- time is symmetrical; nothing happens. Thus the Civil War could be called an event, and relativity would so treat it. But the Civil War was also a change of state. The nation was not the same after it.
Thus relativity had to ignore history, whereas the quantum of action always produces a change of state. It can cause the atom to become an ion and lead to its forming a chemical compound; it may cause a change in the retina of the eye, producing vision. It is like a small spark which can ignite a forest fire.
Science was so impressed by relativity that it preferred to think of time as similar to space and to ignore the asymmetry implied by change of state. The paradigm shift of quantum theory was ignored. Classical science depended on forces between "billiard balls," whereas quantum physics showed that the quantum has more resemblance to a human decision or a message than to billiard balls bumping into one another.
If the reader experiences a shock that I've again introduced an anthropomorphic or human reference, I cannot withdraw it; it is part of the even larger significance of the paradigm shift that should have occurred with quantum physics.
Before leaving relativity I could also add that the measures that science can correctly say are objective, velocity and position, are set aside by relativity as not significant, emphasis being placed on acceleration, which is considered invariant and therefore important. Another invariant, recognized by Einstein, Bridgeman, and Eddington, but not made use of, is rotation -- a very important part of the paradigm shift that should have occurred, which we will get to later.
(3) I now get to the most difficult part of my thesis. The considerations I've described might be admitted by some readers, but they do not convey the magnitude and significance of the paradigm shift I think is overdue, so I will have to resort to a rather crude example.
Suppose I were to present a plate of food to a child to eat, and the child were to turn the plate upside down, spilling the contents about, and proceed to separate it into different ingredients -- to count the peas, etc. We have been given this marvelous world to experience, but science prefers to analyze it -- a worthy undertaking, but it becomes absurd if the food is not eaten. Analysis may be food for science, but this doesn't mean that the eating of the food should not be included in the theory.
So this is my main thesis. Science describes and analyzes the world, finds out the laws of its behavior, but it never occurs to theoretical science that the law of cause and effect can be applied and used for our own benefit -- communication, transportation, all machines -- using the laws of nature to increase our freedom.
This cannot be dismissed as mere application and anthropomorphic, because all life does the same. Plants control their metabolism to achieve growth and reproduction; animals learn mobility and are able to achieve short-term goals (including some long-term goals such as migration). This is not just technology; it is the basis of life.
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The Evolutionary Biology Valentine's Day Poem
In sociobiology,
Why I love you and you love me—
Which anyone can plainly see—
Is mostly in our genes.
No, not the ones you buy in stores,
But what a scientist explores--
I like the way you look in yours,
And you know what that means.
What subtly-coded stimulus
Takes you and me, and makes us “us”
And makes us feel ‘twas ever thus?
The list of suspects narrows.
No longer are we all a-shiver
From some Cupid with a quiver
Out of which he might deliver
Fusillades of Eros.
Nor Dopamine, nor Serotonin
Tell us why our hearts are moanin’
Though they serve to help us hone in
On–not why, but how;
The parasympathetic blush,
Adrenaline to bring a rush,
Are how, not why, I’ve got a crush
On you, my darling, now.
But if old Charles Darwin’s right,
The reason that the merest sight
Of you will always give delight
Is…reproductive fitness.
Throughout our species’ family tree,
Producing proper progeny
Is what determined you and me
And Darwin was the witness.
Is thinking that you’re oh so sweet
And how you’ll make my life complete
Some trick to make our gametes meet?
It seems it may be so.
I feel the way I feel today
Because some bit of DNA
Sees your genetics on display
And wants to say “hello.”
But think of this, for what it’s worth:
Millennia before my birth
That DNA had roamed the earth,
In residents thereof;
The neat thing is, it’s really true,
The feeling that I have for you
Although, of course, it feels brand-new
Is truly ageless love.
In sociobiology,
Why I love you and you love me—
Which anyone can plainly see—
Is mostly in our genes.
No, not the ones you buy in stores,
But what a scientist explores--
I like the way you look in yours,
And you know what that means.
What subtly-coded stimulus
Takes you and me, and makes us “us”
And makes us feel ‘twas ever thus?
The list of suspects narrows.
No longer are we all a-shiver
From some Cupid with a quiver
Out of which he might deliver
Fusillades of Eros.
Nor Dopamine, nor Serotonin
Tell us why our hearts are moanin’
Though they serve to help us hone in
On–not why, but how;
The parasympathetic blush,
Adrenaline to bring a rush,
Are how, not why, I’ve got a crush
On you, my darling, now.
But if old Charles Darwin’s right,
The reason that the merest sight
Of you will always give delight
Is…reproductive fitness.
Throughout our species’ family tree,
Producing proper progeny
Is what determined you and me
And Darwin was the witness.
Is thinking that you’re oh so sweet
And how you’ll make my life complete
Some trick to make our gametes meet?
It seems it may be so.
I feel the way I feel today
Because some bit of DNA
Sees your genetics on display
And wants to say “hello.”
But think of this, for what it’s worth:
Millennia before my birth
That DNA had roamed the earth,
In residents thereof;
The neat thing is, it’s really true,
The feeling that I have for you
Although, of course, it feels brand-new
Is truly ageless love.
An Ode to the Bustle (I Like Big Butts)
The courtiers like big bustles and they cannot lie.
No gentleman doth deny.
When a fair maiden strolls in with a diminutive waist
And a bustle in your face...
You approach a mutual acquaintance who may introduce her to you, and after a respectful introduction you politely inquire her father whether or not you may be allowed to make calls upon said young lady, and should he acquiesce, you make a series of chaperoned calls at the estate of said fair maiden, and after an appropriate time, during which you have reviewed her trainings, breeding, accomplishments, likelyhood to produce healthy offspring, and family standing, you approach her father again, and if he agrees to the marriage, you have an elaborate wedding, making sure lest you snub any family connections on either side, after which you embark on an appropriate honeymoon during which you get sprung.
You become distracted from your affairs when you notice the pleasurable silhouette of a young woman with a bustle,
It lies beneath many layers of fabric, and you find yourself utterly engaged in examining it from afar.
Oh, darling, I would like to escort you on outings
And commission an oil portrait of you
My fellow gentlemen attempt to dissuade me,
But your bustle imparts within me feelings of great ecstasy.
Oh yes, that wire frame
Would you like to ride in my hansom?
Then join me, I beg you to join me
For you are more accomplished and pleasing to look upon than an average young lady
I have observed you at dancing
And I fear my love for you will scarcely bear a long courtship
I perspire greatly
As a racehorse will in the midst of the steeplechase
I tire of these leisurely publications
Advocating the abandonment of the bustle--
If you were to inquire as to the opinions of gentlemen of standing on this matter, you would find that they greatly prefer the current fashion.
Therefore, ladies...
Milord?
Miladies...
Milord?
If you do wish to ride in my luxurious carriage...
Indeed, milord!
So, your betrothed owns a carriage of Japanese make and engages in calesthenics instructed by Lady Jane Fonda?
But Miss Fonda has no motor in the rear of her carriage!
I, and by extension my membrum virilis, which I shall liken unto a ferocious and large snake, am not interested in the performance of the sacred marital duties, unless the Creator has endowed you with a voluptuous form pleasing to the baser instincts of man, dear heart.
Various rapscallions make pretentions of being noble
And admonish that thy bustle is akin in size to the fretful hippopotamus
So they make pantywaisted pretense for your affections before fleeing from romantic commitment
But I am swift to mend thy bruiséd fluttering heart
These periodicals of the printing press state that it is in good Parisian style to resemble a victim of consumption
Fie!
Thy shape resembleth a glass of sweet wine
So to the waifish guttersnipes I proclaim:
Thou'rt not divine, onion-headed lasses!
Rather introduce me to a lady of the court,
One of such striking beauty that I am smitten by her glory
And whose curves show that she lacks for neither nourishment nor health
Some blatherskytes speak ill of women in my company
For their tongues are sharpened by jealousy
They squandered their one opportunity with such damsels by acting the churl
And I fly to the scorned and praise their beauty
So if thy bustle is elliptical
And thy womanly fires burn hungrily for one to stoke the flames
Please see my man Godwin for my card
And do call on Sunday for tea
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