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Tiantai Buddhism emerged from an idiosyncratic and innovative interpretation of the Lotus Sutra to become one of the most complete, systematic, and influential schools of philosophical thought developed in East Asia. Brook A. Ziporyn puts Tiantai into dialogue with modern philosophical concerns to draw out its implications for ethics, epistemology, and metaphysics. Ziporyn explains Tiantai’s unlikely roots, its positions of extreme affirmation and rejection, its religious skepticism and embrace of religious myth, and its view of human consciousness. Ziporyn reveals the profound insights of Tiantai Buddhism while stimulating philosophical reflection on its unexpected effects.

Tiantai Buddhism emerged from an idiosyncratic and innovative interpretation of the Lotus Sutra to become one of the most complete, systematic, and influential schools of philosophical thought developed in East Asia. Brook A. Ziporyn puts Tiantai into dialogue with modern philosophical concerns to draw out its implications for ethics, epistemology, and metaphysics. Ziporyn explains Tiantai’s unlikely roots, its positions of extreme affirmation and rejection, its religious skepticism and embrace of religious myth, and its view of human consciousness. Ziporyn reveals the profound insights of Tiantai Buddhism while stimulating philosophical reflection on its unexpected effects.

Tiantai Buddhism emerged from an idiosyncratic and innovative interpretation of the Lotus Sutra to become one of the most complete, systematic, and influential schools of philosophical thought developed in East Asia. Brook A. Ziporyn puts Tiantai into dialogue with modern philosophical concerns to draw out its implications for ethics, epistemology, and metaphysics. Ziporyn explains Tiantai’s unlikely roots, its positions of extreme affirmation and rejection, its religious skepticism and embrace of religious myth, and its view of human consciousness. Ziporyn reveals the profound insights of Tiantai Buddhism while stimulating philosophical reflection on its unexpected effects.

Thanks to the omnipresence of computers, cell phones, gaming systems, and the internet, a broad audience has traded its past reservations against technology for an almost insatiable curiosity for all things technical. Against this background, unprecedented new tools and possibilities are opening up for the world of design. In addition to sketchbooks and computers, young designers are increasingly using programming languages, soldering irons,sensors, and microprocessors as well as 3D milling or rapid prototyping machines in their work. The innovative use of powerful hardware and software has become affordable and, most of all, much easier to use. Today, the sky is the limit when it comes to ideas for experimental media, unconventional interfaces, and interactive spatial experiences. A Touch of Code shows how information becomes experience. The book examines how surprising personal experiences are created where virtual realms meet the real world and where dataflow confronts the human

Simple text and beautiful artwork help toddlers understand God's world and key Bible topics. Using images that ages 0 to 4 are sure to identify with, Always Near Me helps children understand God's omnipresence. Based on Psalm 139.

Il est loin le temps où les historiens envisageaient l'omniprésence du merveilleux et du surnaturel dans la société médiévale comme un symptôme d'infantilisme. Depuis quelques décennies, les médiévistes savent que le Moyen Age ne peut se comprendre en dehors de catégories religieuses et, surtout, ils ont appris à se faire anthropologues. Que le surnaturel envahisse la scène médiévale ne surprend plus, la vraie question se concentre sur les usages du merveilleux. C'est à explorer ces usages que se consacre André Vauchez, auteur d'un ouvrage devenu classique sur la sainteté au Moyen Age et directeur de l'Ecole française de Rome. Qu'il légitime une parole qui peut être déviante, qu'il fonde l'antiquité d'un passé, gage de vérité, qu'il soit la marque d'une élection, le surnaturel prend de multiples formes - miracles, prodiges, visions, thaumaturgie - et cette liberté finit par inquiéter les pouvoirs ecclésiastiques et royaux. Théologiens et juristes vont tenter de discipliner ce surnaturel "sauvage" en lui appliquant des critères de discernement : tout prodige ou miracle ne vient pas de Dieu. A travers cette forte présence du surnaturel, l'Occident médiéval en vient à poser la question du pouvoir : charisme contre institution, intervention divine contre puissance d'établissement. En lieu et place d'un âge de la foi béate, l'historien découvre une conscience critique qui s'interroge sur le difficile équilibre entre les fonctions : comment accorder le prêtre, le prophète et le roi ?

Double LP version. Includes only exclusive tracks, featuring: Jrgen Paape, Jonathan Kaspar, Thomas/Mayer, Albert Luxus, Julian Stetter, Sascha Funke, Voigt & Voigt, The Modernist, and Justus Khncke; includes download. You may ask: "In the day and age of streaming playlists and the omnipresence of freely available mixes, what's the use of a label compilation?" The answer is simple: labels still serve as a dearly needed filter mechanism in this tsunami of music we're facing every day. Labels str

What has the omnipresence of the telephone done to interpersonal communication? How has the portable radio/tape player--whether "Walkman" or "box"--challenged our notions of privacy and personal space? What happens to our aesthetic ideals when an ancient art treasure is moved to a pollution-free environment and an exact replica is put in its place at the original site? How has the use of the "instant replay" in sports broadcasting affected the value of sportsmanship? What are the implications of the fact that a computer engineer has begun to market a tombstone that can deliver a recorded message from the deceased to the survivors? These are but a few of the questions Gary Gumpert asks in this provocative and entertaining assessment of how the communications media and its related technology have altered, reinforced, deemphasized, and redefined our society's values and beliefs. In a world and a society less reliant on the media, values were generally resolved and taught through the traditional institutions of family, school, and church. As Gumpert notes, however, the coming of the electronic age has made us much more reliant on "media relationships" for support and reaction in defining our values. Uncovering hidden media dependencies we tend to suppress, the book abounds in original insights on topics ranging from the intrusion of Muzak into the doctor-patient relationship to the way new audio technology has transformed our perceptions of a great performance. Although values tend to endure, Gumpert observes, they have never been static or constant. With the advent of the new media, he contends, values are being "rocked and tested" at a rate that boggles the mind. This book is a lively meditation on where we have been and where we might be going.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.   Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.

Featuring exquisite photos of more than 800 contemporary and historic works, this first-of-its-kind book reveals how the process of casting—pouring material into a mold—has transformed our world through its history and omnipresence. In these image-rich pages, craft, fine art, design, and everyday objects offer us perspectives on casting’s unique possibilities, its place in history, and its role in contemporary object creation. Comprehensive and insightful, the book includes writings on casting as it relates to Art History (by Suzanne Ramljak), Large-Scale Metal (by Joseph Becherer), Ceramics (by Ezra Shales), Glass (by Susie J. Silbert), Jewelry (by Jen Townsend), and Alternative Materials (by Elaine A. King). A multi-disciplinary approach—including everything from traditional lost wax casting in non-ferrous metals to casting rubber, glass, porcelain, plaster, and some very unexpected materials—makes this an essential resource for artists, craftspeople, historians, designers, and everyone interested in the objects that populate our world.

The representative work of the multi-talented Yoshitoshi Abe continues to demonstrate his talents as a mangaka, illustrator and script writer. The illustrations that were published in 1999's Serial Experiments Lain were compiled into the illustration book An Omnipresence in Wired Yoshitoshi Abe, and has been reprinted numerous times due to its immense popularity.

Featuring exquisite photos of more than 800 contemporary and historic works, this first-of-its-kind book reveals how the process of casting—pouring material into a mold—has transformed our world through its history and omnipresence. In these image-rich pages, craft, fine art, design, and everyday objects offer us perspectives on casting’s unique possibilities, its place in history, and its role in contemporary object creation. Comprehensive and insightful, the book includes writings on casting as it relates to Art History (by Suzanne Ramljak), Large-Scale Metal (by Joseph Becherer), Ceramics (by Ezra Shales), Glass (by Susie J. Silbert), Jewelry (by Jen Townsend), and Alternative Materials (by Elaine A. King). A multi-disciplinary approach—including everything from traditional lost wax casting in non-ferrous metals to casting rubber, glass, porcelain, plaster, and some very unexpected materials—makes this an essential resource for artists, craftspeople, historians, designers, and everyone interested in the objects that populate our world.

British Victorians were obsessed with fluids―with their scarcity and with their omnipresence. By the mid-nineteenth century, hundreds of thousands of citizens regularly petitioned the government to provide running water and adequate sewerage, while scientists and journalists fretted over the circulation of bodily fluids. In The Social Life of Fluids Jules Law traces the fantasies of power and anxieties of identity precipitated by these developments as they found their way into the plotting and rhetoric of the Victorian novel.Analyzing the expression of scientific understanding and the technological manipulation of fluids―blood, breast milk, and water―in six Victorian novels (by Charles Dickens, George Eliot, George Moore, and Bram Stoker), Law traces the growing anxiety about fluids in Victorian culture from the beginning of the sanitarian movement in the 1830s through the 1890s. Fluids, he finds, came to be regarded as the most alienable aspect of an otherwise inalienable human body, and, paradoxically, as the least rational element of an increasingly rationalized environment. Drawing on literary and feminist theory, social history, and the history of science and medicine, Law shows how fluids came to be represented as prosthetic extensions of identity, exposing them to contested claims of kinship and community and linking them inextricably to public spaces and public debates.

Thanks to the omnipresence of computers, cell phones, gaming systems, and the internet, a broad audience has traded its past reservations against technology for an almost insatiable curiosity for all things technical. Against this background, unprecedented new tools and possibilities are opening up for the world of design. In addition to sketchbooks and computers, young designers are increasingly using programming languages, soldering irons,sensors, and microprocessors as well as 3D milling or rapid prototyping machines in their work. The innovative use of powerful hardware and software has become affordable and, most of all, much easier to use. Today, the sky is the limit when it comes to ideas for experimental media, unconventional interfaces, and interactive spatial experiences. A Touch of Code shows how information becomes experience. The book examines how surprising personal experiences are created where virtual realms meet the real world and where dataflow confronts the human

In Omnisubjectivity: A Defense of a Divine attribute, Linda Zagzebski reflects on how the modern discovery of subjectivity should influence the way we think about God's attributes. Her examination of recent conceptions of omnipresence and omniscience reveals that if God truly has all possible cognitive perfections, then a new attribute should rightly be applied to God which the 'traditional attributes' do not address: omnisubjectivity. Zagzebski describes omnisubjectivity as the complete and accurate grasp of every conscious state of every conscious being from that beings first person perspective. Thus, God is not only omniscient, knowing that Mary sees red. But God is omnisubjective, knowing, from the first person perspective, the quality, qualia, and phenomenal consciousness of what it is like for Mary to see red. In this intriguing lecture, Zagzebski examines exactly why God must be omnisubjective and addresses the possible moral and ethical concerns of what it means for God to be fully present in His creatures' subjectivity.

The representative work of the multi-talented Yoshitoshi Abe continues to demonstrate his talents as a mangaka, illustrator and script writer. The illustrations that were published in 1999's Serial Experiments Lain were compiled into the illustration book An Omnipresence in Wired Yoshitoshi Abe, and has been reprinted numerous times due to its immense popularity.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.   Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.

Our good is already fully established within us. When we cease from both mental and material effort to “get” health, love, prosperity, harmony, justice, or morality — even when we cease from attempting to “get” spiritual realization — and, instead, become still and receptive in the infinity and omnipresence of our true Good, harmony becomes visible and real in our experience.Listen ... That Is All is a loving and inspiring way-shower, leading to the tangible experience of God in individual life. It reveals why all we need to do once we know that God is omnipresent right where we are, and that “it is the Father’s good pleasure to give you the kingdom,” is to be still, and listen to, or feel the presence and activity of God within.This sacred “inner” experience is the light of the world which reveals every tangible human fulfillment.

The vision statement of the Wikimedia Foundation states, Imagine a world in which every single human being can freely share in the sum of all knowledge. Libraries need not see Wikipedia as competition; rather, failing to leverage its omnipresence in the online world constitutes a missed opportunity. As a senior program officer at OCLC, Proffitt has encouraged collaboration between Wikipedia and cultural heritage institutions, leading to increased visibility and user engagement at participating organizations. Here, she brings onboard a raft of contributors from the worlds of academia, archives, libraries, and members of the volunteer Wikipedia community who together point towards connecting these various communities of knowledge. This book will inspire libraries to get involved in the Wikipedia community through programs and activities such as  hosting editathons;contributing content and helping to bridge important gaps in Wikipedia;ensuring that library content is connected through the world's biggest encyclopedia;working with the Wikipedia education community; andengaging with Wikipedians as allies in a quest to expand access to knowledge.  Speaking directly to librarians, this book shows how libraries can partner with Wikipedia to improve content quality while simultaneously ensuring that library services and collections are more visible on the open web.

British Victorians were obsessed with fluids―with their scarcity and with their omnipresence. By the mid-nineteenth century, hundreds of thousands of citizens regularly petitioned the government to provide running water and adequate sewerage, while scientists and journalists fretted over the circulation of bodily fluids. In The Social Life of Fluids Jules Law traces the fantasies of power and anxieties of identity precipitated by these developments as they found their way into the plotting and rhetoric of the Victorian novel.Analyzing the expression of scientific understanding and the technological manipulation of fluids―blood, breast milk, and water―in six Victorian novels (by Charles Dickens, George Eliot, George Moore, and Bram Stoker), Law traces the growing anxiety about fluids in Victorian culture from the beginning of the sanitarian movement in the 1830s through the 1890s. Fluids, he finds, came to be regarded as the most alienable aspect of an otherwise inalienable human body, and, paradoxically, as the least rational element of an increasingly rationalized environment. Drawing on literary and feminist theory, social history, and the history of science and medicine, Law shows how fluids came to be represented as prosthetic extensions of identity, exposing them to contested claims of kinship and community and linking them inextricably to public spaces and public debates.