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- Regular Associations and Singular Causes | SpringerLink
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- Regular Associations and Singular Causes
Which one is right? I just think that it should be singular even though I found both instances of both singular and plural usage in literature. So, I need to know which the correct way is. Asked by El-Sayed Mohamed on 29 Jun, For example: A series of lectures is scheduled for the coming week.
For example: Two series of lectures are scheduled, one for this week and the other for the next week. However, when series has the article "a" before it, it is evidently being used in a singular sense. Answered by Editage Insights on 06 Jul, This content belongs to the Manuscript Writing Stage. Confirm that you would also like to sign up for free personalized email coaching for this stage. Q: Is "a series" singular or plural?
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Answer Follow this Question. Because while the future is something that is already there, tomorrow is here, and it is always happening. And this construction will be made by visitors, people, citizens, the people of Rio, Brazilians, members of the human species. The objective is to construct a sequence of experiences in which visitors can gradually acquire the means and resources to live out the possibilities of tomorrow that are opening up today. Ultimately, what the museum intends to offer is an experience of causalities.
To talk about the future in other terms, we need to resort not to the straight line, but the image of the maze, which is so dear to Argentinean writer Jorge Luis Borges. Which paths will we take? Which doors will we open?
The choice is imponderable. With every path we follow or door we open, the die of chance rolls on the table of necessity. A maze is a matrix of futures. To guide To guide us in this labyrinth, we have something more than mere chance: applied science offers us resources to find out that each decision we take will correspond to a consequence.
And this, in turn, will cast its shadow on us and future generations. If we choose certain actions, certain scenarios will become more likely. If different actions are taken, other tomorrows will be favored. This is the idea the museum aims to explore. To this end, we have constituted a narrative involving different dimensions. We chose to embody each of the moments in this journey through specific exhibition design, decoration and resources.
In other words, out of a total of five areas, each of them conforms to a certain kind of spatial experience, or sharing, of movement and paths. This main exhibition of the museum, a journey composed of different stages, adapts to the space designed by Calatrava, like a large cathedral nave. There are two more direct ways of conceiving of the visit stages. One of them consists of associating the dimensions with figures of time, while the other involves linking them with questions.
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The idea is for visitors to explore this sequence of questions. Our goal is for people to be snatched away from their everyday life, from their habitual ways of thinking, from their usual places, to experience something they do not find at home, in the street or on the internet.
Something different, which they will only experience here. They will watch the formation of Earth and the development of life and thought, manifested through art. The idea is for visitors to be able to learn about dimensions of our natural existence they are not used to experiencing without resorting to scientific instruments. From the micro to the macro, from astronomical dimensions to subatomic dimensions. It is a sensory, poetic, motivational experience, which prepares us to see the Cosmos as an evolutionary totality, which far exceeds us, embraces us and constitutes us.
They can use this to identify themselves by providing their email address and, if they wish, their name. When they come across one of the interactive posts distributed throughout the main nave, they will make contact with IRIS, a program that personifies the content generated by the group of consultants who have contributed to the museum and which has the capacity to identify and engage in dialogue with each of the visitors. For example, when connecting during a subsequent visit to the museum, IRIS will know which sectors or areas the person visited the last time, or which activities they took part in, and it will be able to then suggest new routes to explore or recommend content that may be accessed during their latest visit.
IRIS will also be able to provide visitors with information or data updates via the internet. Its multiple, parallel functions include recording visitor flows. In this way, it is as if the museum had the capacity to accompany a little of its own metabolism, counting on an image of itself even as it functions.
We are combinations of matter, life and thought, represented in this stage by three large cubes. Far from being watertight, these three dimensions interact with one another. And the unique factor is that thought has the capacity to reflect on its organic bases, investigate its material supports and embrace the Cosmos itself from which we came.
We know today that we are part of the Cosmos, and precisely for this reason, it is part of us. All the cubes will have both external and internal content. In Matter, for example, from the outside visitors will have a unified vision of Earth, like the one seen by Russian cosmonaut Yuri Gagarin. It will not be presented fragmented into countries or continents, but as a single entity. In this experience, visitors will see around very large photos of Earth.
These four rhythms are associated to produce a new one — the rhythm of climate and the succession of the seasons. The third cube then presents the dimension of Thought. On the outside, we once again have a unifying element: our nervous system, which is essentially the same in all human brings. This fundamental identity, however, results in an incredible diversity of cultures, illustrated by hundreds of images portraying different aspects of our life, feelings and actions — how we live, celebrate, have conflicts and belong.
The following stage is the central moment: both spatially, as it is halfway through the itinerary, and in conceptual terms, as it discusses our condition and that of the planet. This is therefore the moment in which we find ourselves: the Age of Humans.websrv2-nginx.classic.com.np/cada-cual-come-en-su-plato.php
Regular Associations and Singular Causes | SpringerLink
This is the age in which Homo sapiens has noted that civilization has become a force with a planetary reach and geological duration and scope. In a very rapid process, we went from a few thousand individuals roughly 70, years, when we started to spread across the planet, to 7 billion people.
From a biological point of view, this growth is equivalent to that of a colony of bacteria: an extremely explosive rhythm in a very short period. We have spread throughout the planet: today there is not a single region that has not been directly or indirectly affected by human activity as a whole. Through this, we wanted to highlight the consequences of human activity.
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There are six standing stones, 10 meters high and 3. This was the visual way we found to announce, with no room for doubt: it is here where we find ourselves, in the Anthropocene. This is the core experience of the Museum of Tomorrow. This agent is humanity. And, of course, it affects the continuity of humanity itself. This is the moment when human actions necessarily bring about consequences for their own author.
Regular Associations and Singular Causes
This is a characteristic of a certain type of natural system, which we call complex systems. Their behavior is not linear because actions triggered by this agent affect itself and modify its own nature. Henceforth we will no longer live on the planet inhabited by our ancestors. Over the course of whole eras, Earth was frozen; in others, it became infernally hot.