Purpose – This paper aims to provide a critical assessment of the Internet of things (IoT) and the social and policy issues raised by its development. While the Internet will continue to become ever more central to everyday life and work, there is a new but complementary vision for an IoT, which will connect billions of objects – “things” like sensors, monitors, and radio-frequency identification devices – to the Internet at a scale that far outstrips use of the Internet as we know it, and will have enormous social and economic implications. Design/methodology/approach – It is based on a review of literature and emerging developments, including synthesis of a workshop and discussions within a special interest group on the IoT. Findings – Nations can harvest the potential of this wave of innovation not only for manufacturing but also for everyday life and work and the development of new information and services that will change the way we do things in many walks of life. However, its success is not inevita...

Putting things to work: social and policy challenges for the Internet of things

He has initiated an experimental masters curriculum designed around the principles described in this article. For further information, contact him by e-mail at rsk1@psu.edu.

Movement Subcultures: Sites for Meaning

Of all the terms bandied about in both current cultural theory and contemporary writing on the arts, postmodernism must be the most overand under-defined. It is usually accompanied by a grand flourish of negativized rhetoric: we hear of discontinuity, disruption, dislocation, decentring, indeterminacy and anti-totalization. What all of these words literally do (by their disavowing prefixes, dis-, de-, in, anti-) is incorporate that which they aim to contest — as does, arguably, the term postmodernism itself. I point to this simple verbal fact in order to begin my 'theorizing' of the cultural enterprise to which we seem to have given such a provocative label. First and foremost, I should like to argue, postmodernism is a contradictory phenomenon that uses and abuses, installs and then subverts, the very concepts it challenges be it in literature, painting, sculpture, film, video, dance, television, music, philosophy, aesthetic theory, psychoanalysis, linguistics or historiography. These are some of the realms from which my 'theorizing' will proceed, and my examples will always be specific, because what I want to avoid are those polemical generalizations (often by those inimical to postmodernism — Jameson 1984a, Eagleton 1985, Newman 1985) diat leave us guessing about just what it is that is being called postmodernist, though they are never in doubt as to its undesirability. Some assume a generally accepted 'tacit definition' (Carmello 1983); others locate the beast by temporal (after 1945? 1968? 1970? 1980?) or economic signposting (late capitalism). But, in as pluralist and fragmented a culture as that of the Western world today,, such designations are not terribly useful if they intend to generalize about all the vagaries of culture. After all, what does television's Dallas have in common with the architecture of Ricardo Bofill? What does John Cage's music share with a play (or film) like Amadeusi In other words, postmodernism cannot simply be used as a synonym for

Beginning to theorize postmodernism

In this article, we focus on ontological metalepses that involve represented transgressions of world boundaries as one manifestation of the unnatural. We first discriminate between ascending, descending, and horizontal metaleptic jumps a three types of unnatural metalepses, or, more specifically, metalepses physically or logically impossible (Alber 80) and, in a second step, try to determine their potential functions. We also propose a new cognitive model that modifies Gerard Genette's structuralist model to conceptualize ontological metaleptic jumps as (1) vertical interactions either between the actual world and a storyworld or between nested storyworlds, or as (2) horizontal transmigrations between storyworlds.2 We argue that our postclassical method offers a more effective way of analyzing metalepsis because it allows us to describe the nature of ontological metalepsis more accurately and also because it embraces interpretation. We place this article on the overlap between unnatural narratology and transmedial narratology insofar as we analyze ontological metalepsis, an unnatural phenomenon, in both print and Storyspace hypertext fiction.

Ontological Metalepsis and Unnatural Narratology

New updated! The latest book from a very famous author finally comes out. Book of freud in oz at the intersections of psychoanalysis and childrens literature, as an amazing reference becomes what you need to get. What's for is this book? Are you still thinking for what the book is? Well, this is what you probably will get. You should have made proper choices for your better life. Book, as a source that may involve the facts, opinion, literature, religion, and many others are the great friends to join with.

Freud in Oz: At the Intersections of Psychoanalysis and Children's Literature

A controversial best-seller in 1977, The Public Burning has since emerged as one of the most influential novels of our time. The first major work of contemporary fiction ever to use living historical figures as characters, the novel reimagines the three fateful days in 1953 that culminated with the execution of alleged atomic spies Julius and Ethel Rosenberg. Vice-President Richard Nixon - the voraciously ambitious bad boy of the Eisenhower regime - is the dominant narrator in an enormous cast that includes Betty Crocker, Joe McCarthy, the Marx Brothers, Walter Winchell, Uncle Sam, his adversary The Phantom, and Time magazine incarnated as the National Poet Laureate. All of these and thousands more converge in Times Square for the carnivalesque auto-da-fe at which the Rosenbergs are put to death. And not a person present escapes implication in Cold War America's ruthless "public burning."

The Public Burning

The Universal Baseball Association, Inc., J. Henry Waugh, Prop.

Bodily interaction with text creates new reading experiences by involving the body of the reader. This has been explored in video installation art, but without immersive 3D. Using a virtual reality environment (the Brown University Cave) we are able to make the bodily experience more direct. In our initial piece, Screen, the reader produces three different textual experiences from the same body of text, two of which differ significantly based on how her body is employed to "play" the piece.

http://www.hyperfiction.org/texts/screenSketch2.pdf

Screen: bodily interaction with text in immersive VR

Robert Coover's wicked and surreally comic novel takes place at a chilling, ribald, and absolutely fascinating party. Amid the drunken guests, a woman turns up murdered on the living room floor. Around the corpse, one of several the evening produces, Gerald's party goes on - a chatter of voices, names, faces, overheard gags, rounds of storytelling, and a mounting curve of desire. What Coover has in store for his guests - besides an evening gone mad - is part murder mystery, part British parlor drama, part sly and dazzling meditation of time, theater, and love.

Gerald's Party

From Hollywood B-movies to Hollywood classics, A Night at the Movies invents what might have happened in these Saturday afternoon matinees. Mad scientists, vampires, cowboys, dance-men, Chaplin, and Bogart, all flit across Robert Coover s riotously funny screen, doing things and uttering lines that are as shocking to them as they are funny to the reader. As Coover s Program announces, you will get Coming Attractions, The Weekly Serial, Adventure, Comedy, Romance, and more, but turned upside-down and inside-out."

Robert Coover

Papers

The Public Burning

The Universal Baseball Association, Inc., J. Henry Waugh, Prop.

Screen: bodily interaction with text in immersive VR

Gerald's Party

A Night at the Movies, or, You Must Remember This