Suchergebnisse

Shane Tews speaks with online content experts Scott Brennen and Matt Perault about the risks artificial intelligence poses in the 2024 election cycle.
The post How AI Is Rewriting Political Advertising appeared first on American Enterprise Institute - AEI.

The United Kingdom is the first and so far only country to pass explicit legislation allowing for the licensed use of the new reproductive technology known as mitochondrial replacement therapy. The techniques used in this technology may prevent the transmission of mitochondrial DNA diseases, but they are controversial because they involve the manipulation of oocytes or embryos and the transfer of genetic material. Some commentators have even suggested that MRT constitutes germline genome modification. All eyes were on the United Kingdom as the most likely location for the first MRT birth, so it was a shock when, on September 27, 2016, an announcement went out that the first baby to result from use of the intervention had already been born. In New York City, United States-based scientist John Zhang used maternal spindle transfer (one of the recognized MRT methods) to generate five embryos for a woman carrying oocytes with deleterious mutations of the mitochondrial DNA. Zhang then shipped the only euploid embryo to Mexico, where it was transferred to the mother's uterus. Zhang's team's travel across international borders to carry out experimental procedures represents a form of scientific tourism that has not been properly ethically explored; it can, however, have seriously detrimental effects for developing countries.

In their replies to our paper (Pearce et al., 2017), both Cook and Oreskes agree with our central point: that deliberating and mobilizing policy responses to climate change requires thinking beyond public belief in a scientific consensus. However, they both continue to defend consensus messaging, either because of 'the dangers of neglecting to communicate the scientific consensus' (Cook, 2017, p. 1) or because '"no consensus"…remains… a contrarian talking point' (Oreskes, 2017, p. 1). Both highlight previously conducted market research by fossil fuel companies which suggested that scientific uncertainty provided a political weapon in fighting regulation, concluding that incorrect public perceptions of the scientific consensus weaken support for policy action (Oreskes, 2017, p. 2).

Aus einem vergleichenden, transnationalen Ansatz heraus nimmt die internationale Autorengruppe die jeweiligen nationalen Interpretationen der Vergangenheit in Deutschland und Italien, wie sie sich im Medium des Films zwischen 1945 und etwa 1955 darstellen, in den Blick und thematisiert auch die wechselseitige Wahrnehmung der Filme. In den 12 Beiträgen werden sowohl die filmischen Erzählmuster von wichtigen Einzelwerken analysiert als auch der zeitgenössische Kontext der Debatte über die Schrecken und Traumata der nationalsozialistischen wie faschistischen Vergangenheit in den beiden Ländern einbezogen. ; Sulla base di un approccio comparato e transnazionale, il volume esamina le rispettive interpretazioni del proprio passato in Germania e in Italia nello specchio della produzione cinematografica tra il 1945 e il 1955, nonché la reciproca ricezione dei film. In 12 contributi gli autori internazionali analizzano trama e narrativa di alcuni importanti film, considerando anche il contesto in cui si svolse allora, nei due paesi, il dibattito sugli orrori e traumi del passato nazionalsocialista e fascista. This volume's transnational, comparative approach seeks to open up a fresh perspective on self-interpretations of the past in Germany and Italy with regards to film production and the cinematographic relationship between the two countries, from 1945 to 1955. In the 12 chapters, the international authors analyse both plot and narrative in significant single film productions, as well as the contexts in which the horrors and traumas of their Nazi and Fascist pasts were discussed in both countries.

Aus einem vergleichenden, transnationalen Ansatz heraus nimmt die internationale Autorengruppe die jeweiligen nationalen Interpretationen der Vergangenheit in Deutschland und Italien, wie sie sich im Medium des Films zwischen 1945 und etwa 1955 darstellen, in den Blick und thematisiert auch die wechselseitige Wahrnehmung der Filme. In den 12 Beiträgen werden sowohl die filmischen Erzählmuster von wichtigen Einzelwerken analysiert als auch der zeitgenössische Kontext der Debatte über die Schrecken und Traumata der nationalsozialistischen wie faschistischen Vergangenheit in den beiden Ländern einbezogen. ; Sulla base di un approccio comparato e transnazionale, il volume esamina le rispettive interpretazioni del proprio passato in Germania e in Italia nello specchio della produzione cinematografica tra il 1945 e il 1955, nonché la reciproca ricezione dei film. In 12 contributi gli autori internazionali analizzano trama e narrativa di alcuni importanti film, considerando anche il contesto in cui si svolse allora, nei due paesi, il dibattito sugli orrori e traumi del passato nazionalsocialista e fascista. This volume's transnational, comparative approach seeks to open up a fresh perspective on self-interpretations of the past in Germany and Italy with regards to film production and the cinematographic relationship between the two countries, from 1945 to 1955. In the 12 chapters, the international authors analyse both plot and narrative in significant single film productions, as well as the contexts in which the horrors and traumas of their Nazi and Fascist pasts were discussed in both countries.

Aus einem vergleichenden, transnationalen Ansatz heraus nimmt die internationale Autorengruppe die jeweiligen nationalen Interpretationen der Vergangenheit in Deutschland und Italien, wie sie sich im Medium des Films zwischen 1945 und etwa 1955 darstellen, in den Blick und thematisiert auch die wechselseitige Wahrnehmung der Filme. In den 12 Beiträgen werden sowohl die filmischen Erzählmuster von wichtigen Einzelwerken analysiert als auch der zeitgenössische Kontext der Debatte über die Schrecken und Traumata der nationalsozialistischen wie faschistischen Vergangenheit in den beiden Ländern einbezogen. ; Sulla base di un approccio comparato e transnazionale, il volume esamina le rispettive interpretazioni del proprio passato in Germania e in Italia nello specchio della produzione cinematografica tra il 1945 e il 1955, nonché la reciproca ricezione dei film. In 12 contributi gli autori internazionali analizzano trama e narrativa di alcuni importanti film, considerando anche il contesto in cui si svolse allora, nei due paesi, il dibattito sugli orrori e traumi del passato nazionalsocialista e fascista. This volume's transnational, comparative approach seeks to open up a fresh perspective on self-interpretations of the past in Germany and Italy with regards to film production and the cinematographic relationship between the two countries, from 1945 to 1955. In the 12 chapters, the international authors analyse both plot and narrative in significant single film productions, as well as the contexts in which the horrors and traumas of their Nazi and Fascist pasts were discussed in both countries.

Aus einem vergleichenden, transnationalen Ansatz heraus nimmt die internationale Autorengruppe die jeweiligen nationalen Interpretationen der Vergangenheit in Deutschland und Italien, wie sie sich im Medium des Films zwischen 1945 und etwa 1955 darstellen, in den Blick und thematisiert auch die wechselseitige Wahrnehmung der Filme. In den 12 Beiträgen werden sowohl die filmischen Erzählmuster von wichtigen Einzelwerken analysiert als auch der zeitgenössische Kontext der Debatte über die Schrecken und Traumata der nationalsozialistischen wie faschistischen Vergangenheit in den beiden Ländern einbezogen. ; Sulla base di un approccio comparato e transnazionale, il volume esamina le rispettive interpretazioni del proprio passato in Germania e in Italia nello specchio della produzione cinematografica tra il 1945 e il 1955, nonché la reciproca ricezione dei film. In 12 contributi gli autori internazionali analizzano trama e narrativa di alcuni importanti film, considerando anche il contesto in cui si svolse allora, nei due paesi, il dibattito sugli orrori e traumi del passato nazionalsocialista e fascista. This volume's transnational, comparative approach seeks to open up a fresh perspective on self-interpretations of the past in Germany and Italy with regards to film production and the cinematographic relationship between the two countries, from 1945 to 1955. In the 12 chapters, the international authors analyse both plot and narrative in significant single film productions, as well as the contexts in which the horrors and traumas of their Nazi and Fascist pasts were discussed in both countries.

For the first time in historiography, this paper introduces and analyses a unique miniature map of Crete from the manuscript Paris. gr. 2737 written by Angelos Vergikios, a famous sixteenth-century Greek calligrapher. This map illustrates the beginning of Book 3 of Pseudo-Oppian's poem about hound hunting. The creator of the manuscript was a Cretan Greek who first emigrated to Italy and then to France. Naturally, for him Crete was an important location of his personal memory, so this miniature was especially elaborated and marked with the scribe's special marginalia. An analysis of the peculiarities of the map of Crete suggests that the author of the miniature was also a native of Crete, which provides further support for the hypothesis that Vergikios' daughter, whose name is unknown, was the miniaturist. For the creators of the manuscript, the miniature was primarily a reflection of their nostalgia for their lost homeland. The map seamlessly combines the ancient antique story of Zeus' birth on Crete with the sixteenth-century system of four pillars of power of the Venetian maritime Empire on the island. Thus, the Byzantine image of a significant locus of the fantasy world of Antiquity is combined with the geopolitical reality of the Mediterranean of the Modern Age. Consequently, this miniature map illustrates the paradoxical mechanism of the revival of ancient tradition during the sixteenth century Renaissance very well by 'reinventing' it, i.e. by copying, revising and modernising the Byzantine model.