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  Flat Earth Clues: The Sky's the Limit , Hörbuch, Digital, ungekürzt, 354min

  The Flat Earth Clues book gives you 12 compelling reasons why you should rethink the globe model that you have been taught. Before you were born, before your parents, your grandparents, before you even had a family line. There was the illusion, the trick, the lie that you lived on a small spinning rock flying through space. You thought it was true, because children don't believe in lies. And you grew up, and it was still true, because science is never wrong.... Except for small things like lead gasoline, lead paint, DDT, cigarettes not causing cancer, and what the core of the Earth looks like. You know that fire burns, water is wet, drop something and it falls to the floor. We can all test these things. What shape is the world? That's not something you know; it's something you're told. To put it simply, you just have to take their word for it. And there's the real crux of the problem: the weight of their word. It's really about trust. Most of us trust science to some degree. It's about proving the Earth flat, but more importantly it's about disproving the globe, and that shouldn't be possible, but there are several big questions which science has a difficult time with. Why was there only one blue marble image used for 43 years? Where are the videos of the Earth rotating from space? Astronauts can't turn around in space with the camera running? Not even by accident? Are the Van Allen radiation belts dangerous? Why does the Orion "Trial by Fire" video exist? Why was the space shuttle program cancelled? Why does the Mars mission keep getting postponed? Why are they closing down the ISS? Why is Psalm 19:1 on Werner Von Braun's headstone? Why is the moon generating a light that is sometimes 12 degrees colder than the moon shade? How is that possible if it's reflecting the sun's rays? And if the moon is generating its own light source, then what was that dark grey thing we landed on? We can beam back crystal-clear photos of Pluto, but t ungekürzt. Language: English. Narrator: Mark Sargent. Audio sample: https://samples.audible.de/bk/bglz/000006/bk_bglz_000006_sample.mp3. Digital audiobook in aax.

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  Information Wars (eBook, ePUB)

  A "well-told" insider account of the State Department's twenty-first-century struggle to defend America against malicious propaganda and disinformation (The Washington Post). Disinformation is nothing new. When Satan told Eve nothing would happen if she bit the apple, that was disinformation. But today, social media has made disinformation even more pervasive and pernicious. In a disturbing turn of events, authoritarian governments are increasingly using it to create their own false narratives, and democracies are proving not to be very good at fighting it. During the final three years of the Obama administration, Richard Stengel, former editor of Time, was an Under Secretary of State on the front lines of this new global information war-tasked with unpacking, disproving, and combating both ISIS's messaging and Russian disinformation. Then, during the 2016 election, Stengel watched as Donald Trump used disinformation himself. In fact, Stengel quickly came to see how all three had used the same playbook: ISIS sought to make Islam great again; Putin tried to make Russia great again; and we know the rest. In Information Wars, Stengel moves through Russia and Ukraine, Saudi Arabia and Iraq, and introduces characters from Putin to Hillary Clinton, John Kerry, and Mohamed bin Salman, to show how disinformation is impacting our global society. He illustrates how ISIS terrorized the world using social media, and how the Russians launched a tsunami of disinformation around the annexation of Crimea-a scheme that would became a model for future endeavors. An urgent book for our times, now with a new preface from the author, Information Wars challenges us to combat this ever-growing threat to democracy. "[A] refreshingly frank account... revealing." -Kirkus Reviews "This sobering book is indeed needed to help individuals better understand how information can be massaged to produce any sort of message desired." -Library Journal

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  A Critical Study of Ibn Taymias Response to Christianity

  Introduction Historical, political and religious factors occasioned to a vast interfaith polemical literature between Muslims and Christians. Along history, there had been many such polemical responses, in which the respective writers exerted to rebut the opponents' doctrines and prove their own. The crusaders and their political existence in the holy land and elsewhere, and their collusion with the Tatars against the Muslims at some epochs of history induced many antipathetic reactions that ranged from military to academic. Besides, the Islamic duty of defending and propagating Islam imposed and provoked the responses of many Muslim scholars. Among the very prominent responses is that which Ibn Taymiyyah, who lived in the thirteenth and fourteenth century, launched. Ibn Taymiyyah wrote prolifically almost about every subject of religious import. Regarding refuting Christianity, apart from the small tracts and chapters in different books, he wrote a voluminous book challenging their assertions against Islam and disproving Christian allegations and doctrines. Significance of the Study This is an attempt to carry out a critical study of Ibn Taymiyyah's response to Christianity. This response was triggered by a letter Ibn Taymiyyah received from Paul of Antioch, the bishop of Sidon See. Ibn Taymiyyah who was always keen to counter attack any innovation in religion from within the Muslim community could not have condoned this daring transgression in which the necessity of Islam as the only valid means for salvation is challenged. He, therefore, ventured to write a long, cogent response where (as usual) he utilized his unmatchable polemical power to keep the Muslim's theology in its pristine shape. Ibn Taymiyyah mentions at the introducing pages the main points that were claimed by the Christian bishop in the letter. They can be reiterated thus: ¿ That Muhammad (peace and blessings of Allah be upon him) was not sent to the Christians. Rather, he was sent exclusively to the pagan Arabs and the Quran testifies to this. ¿ Muhammad (peace and blessings of Allah be upon him) spoke highly about their religion in the Quran,

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  Disproving Christianity and Other Secular Writings (3rd Edition)

  Disproving Christianity and Other Secular Writings (3rd Edition): ab 4.99 €

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  Evolution's Final Days: The Mounting Evidence Disproving the Theory of Evolution

  Evolution's Final Days: The Mounting Evidence Disproving the Theory of Evolution: ab 2.99 €

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  • Price: 2.99 EUR excl. shipping
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  Baseball Myths

  Baseball Myths - Debating Debunking and Disproving Tales from the Diamond: ab 23.49 €

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  • Price: 23.49 EUR excl. shipping
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  Hatfield, Ken : String Theory

  String Theory - Ken Hatfield Some projects have longer gestation periods than others. The musical ideas on this recording had been percolating in my subconscious for quite awhile, but achieving the balance I desired between simultaneity and sequentiality proved to be elusive. The music on this CD is very personal to me. The forms of the compositions and the instrumentations employed for these recorded performances mirror the sounds that I heard in my 'mind's ear' at the time of each piece's creation. These imaginary sounds and the inspirations that gave rise to them guided every aspect of the compositional process, as well as the recording of my performances of each piece. Two prime objectives motivated the creation of this CD. First, I wanted to delve deeper into the nexus between improvisation and composition that I began to examine on my CD Explorations for Solo Guitar. And second, I felt compelled to undertake an emotional journey to reclaim aspects of my cultural heritage that, frankly, as a jazz musician I had spent a lot of energy trying to distance myself from, namely, my Appalachian roots. Two of the compositions ('Borges & I' and 'Snowhill Variations') are solo guitar pieces and were recorded with no overdubs. The other two pieces ('The Gospel According to Sam' and 'String Theory') were composed as duets and were recorded with that principle in mind. Consequently, though I obviously can't play the guitar and dobro or the guitar and mandolin at the same time, I did play each part as one half of it's respective duet. So the guitar parts for each piece were recorded with no overdubs, and then each of the other instruments was added as it was played, that is, as one integral half of each duet, with no overdubs within each part. The polyphonic nature of the writing does make this difficult, but it is the way the pieces were conceived, and the way they would be performed in a live concert setting. While modern recording technology makes it possible to separate the different voices within each instrument's part, assigning each voice it's own track, I chose not to use that procedure because I felt it would distort the sense of a dialogue between two equals that is central to my conception of the compositions. Each of the four multi-movement works that make up this CD was structured so that any single movement could stand on it's own, but when heard within the context of the entirety of it's surrounding movements, each movement illuminates it's neighbors. This concept is crucial for understanding the sources that inspired each of the four multi-movement works. Even though there are three or more movements within each work, each movement relates to a different aspect of the sources that inspired the work in which it is contained. For example, 'Borges & I' is constructed in the form of a suite with seven movements, each of which is named after a short story written by the great Argentine writer Jorge Luis Borges. Even the suite's overall title is named after one of Borges's short stories, and each movement of the suite was inspired by the short story after which it was named. While Borges's stories cover an enormous range of ideas and emotions, there are certain constants, which is in part why he is viewed as the father of a literary movement often referred to as 'magic realism.' One of the qualities I find most intriguing in Borges's work is his capacity for addressing the most profound aspects of the human condition in the most succinct terms. The form of the short story and the collections comprised of small numbers of them that were published during Borges's lifetime even resemble the form of a suite made up of individual movements. While my suite is not program music intended to underscore Borges's fictions (as he called them), it is an honest response to the masterful works of one of the 20th century's true visionaries. The inspiration for 'The Gospel According to Sam' was a large number of colorful sayings that I've heard throughout my life, expressed by an extraordinary man named Sam, who also happens to be my father. When I first moved to New York City and began working with a lot of different musicians, I found myself in some unfamiliar situations and responded from time to time with some of the witticisms of my father. For example, when a club owner started to deduct the cost of a glass of water from the band's pay, insisting it was on a musician's bar tab, I responded by saying that the club owner was 'tighter than a fish's ass, and that's watertight.' My fellow musicians loved these expressions so much that they often asked where on earth I came up with the stuff. When I told them, several suggested that I put together a book of my Dad's more outlandish expressions and title it 'The Gospel According to Sam.' My Dad loves the dobro, so I wrote 'The Gospel According to Sam' for him. 'Snowhill Variations' was inspired by a story told during a lecture attended by Adrian Leverkühn, the main character in Thomas Mann's novel Dr. Faustus. As a young man Adrian attended lectures about music, and during one such lecture the speaker speculates that music is such a natural art that, even without the benefit of instruction or guidance and by merely observing the natural implications of sound, a musically talented novice could reinvent music, with the results being much the same as the music we know today (or at least at the time of the novel, the early 20th century). To illustrate his point the lecturer tells the story of Johann Beissel, who formed a religious order in Pennsylvania. Beissel received what he believed to be divinely inspired poems that were messages for the faithful. Upon hearing choral music Beissel decided that his poems would be more effectively communicated with music. Knowing nothing about music did not intimidate Herr Beissel, he simply invented his own method for creating credible vocal music using a system of what he referred to as 'master and slave' tones, not unlike the system of chord tones and alternating passing tones that explain many of our chord-scale relationships today. While this story was only a small but interesting part of Mann's novel, I was intrigued by it. However, I assumed that, like the rest of the novel, it was fiction. To my surprise I found out that Beissel really existed, that he did invent a system for creating choral music, and that he founded religious sects at Ephrata and at Snowhill, Pennsylvania. I began to imagine what Beissel's music might have sounded like, and a theme took shape in my mind. When I began to play around with it on paper, I was surprised to hear how malleable it was. So I wrote twelve variations on it. The title piece for the CD, 'String Theory,' didn't have a single source of inspiration. Rather, it emerged from a serendipitous confluence of encounters with art and science, and my own observations on the interactions between these two seemingly disparate disciplines. For example, when I first saw the Henry Moore drawing that graces the cover of this CD, and the way in which it's audience quizzically awaits the unveiling of the monolithic structure covered in something bound by string, it struck me as a visual metaphor for the way physicists are awaiting the next step in the process of proving or disproving the validity of string theory. I was also fascinated by the way that some physicists began naming subatomic particles and/or the forces governing their behavior with names like 'Grace' and 'Love,' and how the deeper they get into it, the stranger it becomes-with a projected eleven dimensions to reality. It seems that the weirder their discoveries, the more physicists use names of familiar qualities to describe the tendencies of the phenomena they either predict or discover. Finally, there is the conspicuous fact that every instrument I play on this recording has strings attached. I always look for a unifying principle to hold things together, and 'String Theory' seemed the obv

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  • Price: 30.91 EUR excl. shipping

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