Stuck in a state of purgatory in the Washington State house in which he lived and died, Evan Molloy, who had shot himself to death for a reason he cannot recall, now must deal with the home's new inhabitant, Maureen Keniston.

Lars Qvortrup The world of interactive 3D multimedia is a cross-institutional world. Here, researchers from media studies, linguistics, dramaturgy, media technology, 3D modelling, robotics, computer science, sociology etc. etc. meet. In order not to create a new tower of Babel, it is important to develop a set of common concepts and references. This is the aim of the first section of the book. In Chapter 2, Jens F. Jensen identifies the roots of interaction and interactivity in media studies, literature studies and computer science, and presents definitions of interaction as something going on among agents and agents and objects, and of interactivity as a property of media supporting interaction. Similarly, he makes a classification of human users, avatars, autonomous agents and objects, demon strating that no universal differences can be made. We are dealing with a continuum. While Jensen approaches these categories from a semiotic point of view, in Chapter 3 Peer Mylov discusses similar isues from a psychological point of view. Seen from the user's perspective, a basic difference is that between stage and back-stage (or rather: front-stage), i. e. between the real "I" and "we" and the virtual, representational "I" and "we". Focusing on the computer as a stage, in Chapter 4 Kj0lner and Lehmann use the theatre metaphor to conceptualize the stage phenomena and the relationship between stage and front-stage.

Writing in the cosmopolitan metropolis of Baghdad, Alfarabi (870-950) is unique in the history of premodern political philosophy for his extensive discussion of the nation, or Umma in Arabic. The term Umma may be traced back to the Qur'ān and signifies, then and now, both the Islamic religious community as a whole and the various ethnic nations of which that community is composed, such as the Turks, Persians, and Arabs. Examining Alfarabi's political writings as well as parts of his logical commentaries, his book on music, and other treatises, Alexander Orwin contends that the connections and tensions between ethnic and religious Ummas explored by Alfarabi in his time persist today in the ongoing political and cultural disputes among the various nationalities within Islam. According to Orwin, Alfarabi strove to recast the Islamic Umma as a community in both a religious and cultural sense, encompassing art and poetry as well as law and piety. By proposing to acknowledge and accommodate diverse Ummas rather than ignoring or suppressing them, Alfarabi anticipated the contemporary concept of "Islamic civilization," which emphasizes culture at least as much as religion. Enlisting language experts, jurists, theologians, artists, and rulers in his philosophic enterprise, Alfarabi argued for a new Umma that would be less rigid and more creative than the Muslim community as it has often been understood, and therefore less inclined to force disparate ethnic and religious communities into a single mold. Redefining the Muslim Community demonstrates how Alfarabi's judicious combination of cultural pluralism, religious flexibility, and political prudence could provide a blueprint for reducing communal strife in a region that continues to be plagued by it today.

In Inhabited Spaces, Nicole Guenther Discenza examines a variety of Anglo-Latin and Old English texts to shed light on Anglo-Saxon understandings of space.

Interest in exoplanets--the worlds of other stars--is not new. From the late 17th century until the end of the 19th, almost all educated people believed that the stars are suns surrounded by inhabited planets--a belief that was expressed not in science fiction, but in serious speculation, both scientific and religious, as well as in poetry. Only during the first half of the 20th century was it thought that life-bearing exoplanets are rare. This is not a science book--rather, it belongs to the category known as History of Ideas. First published by Atheneum in 1974, it tells the story of the rise, fall, and eventual renewal of widespread conviction that we are not alone in the universe. In this 2012 updated edition the chapters dealing with modern speculation have been revised to reflect the progress science has made during the past 40 years, including the actual detection of planets orbiting other stars. However, it is not intended to be more than a brief introduction to today's views; its focus is on little-known facts about those of the past. Why should we care what our forebears believed? Now, the question of ET life is a matter for investigation by science. Yet it's significant that most educated people of past centuries were convinced that other inhabited worlds exist, without any scientific evidence whatsoever. This historical fact reveals that human beings have an instinctive sense of kinship with the wider universe and a desire to see the realms that lie beyond this one small planet--and perhaps, eventually, to go there. Our ancestors conceived of such voyages only in a spiritual sense, as occurring after death. But we who have taken our first small steps into space are aware that our descendants may set foot on the worlds of other suns. Just as in the 17th century people were initially upset by the new knowledge that the stars are suns scattered in space rather than lights fixed to a nearby sphere, the growing awareness that Earth is not safely isolated from whatever lies beyond makes many of our contemporaries uneasy. Thus today's predominant feelings about spaceships are ambivalent. Nevertheless, if an impulse toward belief that we are not alone in the universe is indeed an innate characteristic of human beings, as the past spread of belief in inhabited exoplanets suggests, we can be sure that those who follow us will not turn back from becoming spacefarers.

The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a “virgin wilderness” but of a land deeply resonant with its former uses—and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation.

When Maxim Kammerer, a young space explorer from twenty-second-century Earth, crash-lands on an uncharted world, he thinks of himself as a latter-day Robinson Crusoe. Eager to establish first contact with the planet's humanlike inhabitants, he finds himself increasingly entangled in their primitive way of life. After his experiences in their nightmarish military, criminal justice, and mental health systems, Maxim begins to realize that his sojourn on this radioactive and war-scarred world will not be a walk in the park. The Inhabited Island is one of the Strugatsky brothers' most popular and acclaimed novels, yet the only previous English-language edition (Prisoners of Power) was based on a version heavily censored by Soviet authorities. Now, in a sparkling new edition by award-winning translator Andrew Bromfield, this landmark novel can be newly appreciated by both longtime Strugatsky fans and new explorers of the Russian science fiction masters' astonishingly rich body of work.

Reproduction of the original: Are the Planets Inhabited? by E. Walter Maunder