Publishing

The largest industry in the Alexandran economy is the publishing industry. This includes bibliopegic book publishing in addition to newspaper publishing. The centre of the Alexandran publishing industry is in Heliopolis, home of the Library of Aleixandria. In Heliopolis, the two largest newspapers in the nation, Optica and Neapolitan, are headquartered. For literature in the English language, the Novan Library in New London, Nova-Lox awards the annual literary prize Nova Prize for the opus of authors, with candidates nominated by the Federal Academy of Arts and Letters and patrocinium from the Ministry of Culture. It collaborates with the NBC in the publication of a public catalogue of arts and letters on the World Wide Web (WWW). In Aleixandria, the Alex Prize is an annual international award awarded by the National Academies for contributions to humanity in technology, science and art (the humanities). The prestigious prizes include the Alex Prize in Technology, with the fields of Electronics, Informatics, Cybernetics, and Electrical, Mechanical, Material and Medical Technology (e.g., engineering); the Alex Prize in Science, with the fields of Mathematical Sciences (e.g., mathematics), Economic Sciences (e.g., economics, not politics), Physical Sciences (e.g., physics and "alchemy"), Natural Sciences (e.g., biology, ecology and anthropology), Cognitive Sciences (e.g., linguistics), and Medical Sciences (e.g., medicine); and the Alex Prize in Art, with the fields of Music, Literature, Arts, History and Philosophy. Recipients of the prize are called laureates and are given a monetary endowment of 1,000,000 AXS, a medal with profile of Alexander the Great, and a diploma. The Library of Aleixandria in the Mouseion is a physical (analogue) and electronic (digital) archive of media and data formats (documents, images, materials, registers, books, periodicals, journals, reviews, reports, maps, charts, photographs, cinematographs, phonographs, video, audio, music, paper, and film). It is a memorial record of images, concepts, and ideas that is accessible for all Atlanteans. These media of information are material and virtual memories of data for mental representation.

National libraries (bibliothecae or bibliothekai) maintained by librarians collect the literary media of creators (authors, illustrators, translators, and collaborators) and their bibliographic information in a register or catalogue record. The Universal Decimal Classification (UDC) is applied as a schematic system for national bibliographies. Faceted classification uses semantic categories that express a concept of information (cognisance and significance) in a structure of the canon (principles of characteristics, aspects or properties with an auxiliary taxonomy of syntax and hierarchy) of basic classes, common facets, and general or special isolates. This is opposed to enumerative classification that lists specific subjects (divisions, disciplines and perspectives of the universe) with their objects (form and content). The UDC combines these in a coherent (analytic and synthetic) notation, such that multiple relational classification (categorisation as typological division) criteria are possible that presumptions of organisation are limited. It consists of 10 canonical classes (0–9) in a catalogue. Compare this to a graphic and schematic representation (programme, diagram and structure) of hierarchic authority and responsibility as relations, functions, organisation, gestation, articulation, coordination, construction, connection, allocation, distribution and (in)formation. Vannevar Bush (a Novan electrical engineer of whom Claude Shannon was a student) would propose an informatic index as a collective memory, which inspired the hypertext of the WWW. A cooperative of Atlantean libraries, museums, archives, galleries, repositories, and other institutional organisations operates an electronic union catalogue service that aggregates the material trésor trouvé (a "treasure trove", hoard or sceat of digital data of media, or documents, images, manuscripts, codices, texts, letters, lyrics, and compositions) for access on sites of the WWW. The persistent and unique identification of the digital object identifier (DOI) is used to identify referent objects (academic, professional, commercial, organisational, official, and government information as the media of publications) in archives. It is resolvable and interoperable such that it connects metadata (data of data, the plural of datum) of the content. It consists of a string of tokens or chain of characters in the format "[prefix]/[suffix]", where the prefix identifies the publication registrant and the suffix the specific object. The system is normalised by the ISO and differs from an identifier registry (collection of identifiers). Coordination of the system is by an international federation that administers the registration of agencies as members. Material objects are local items or elements of artificial products or articles (e.g., goods of commercial and retail markets, medical patients with their pharmaceutical and chemical medicaments, industrial parts and models in the manufacture of technics (technical mechanics and electronics), postal envelopes of letters and charts, and the bibliographic and bibliotechnic libraries of books and serial publications). Their global or local information of reference are identified with international numbers or universal codes, which are numeric and symbolic structures for the impression of data as visual or optical "bars" in dimensional space. They are either continuous (n bars and n spaces) or discrete (n bars and n − 1 spaces), with variation in their large breadth or width. The objective of this record (anamnesis, a souvenir of memory) is to provide the title, subject, description, and imprint (location, date and the name of creator, author, editor or proprietor in an impressum) of publication for the copyright statement. Creative persons are required to submit and deposit a copy (replica or facsimile) of their artificial publication of imagination to these national repositories of state for public access as a legal condition of the registration and possession of copyright. Similarly, a system of unique identification is used for academic creators (authors, contributors and researchers in art, science and the humanities) connected to their bibliographic literature (creations or products of publication with an editor). It augments personal and family names and facilitates the cross or "queer" reference (citation, remission and direction) of data (information) in a bibliography.

The archive is the public house where the sovereignty, dominion and authority of arche originates. Its absence is an anarchy with history made inaccessible (in a silence of obfuscation) by suppression and repression of the archival censor (official recognition). This is an informational dialectic of visible and invisible memories (records, representations, reconstructions, interpretations, significations or texts) of the conditions of experience in a polysemic plurality of coexistence. The arkheion was the oikos (house, domicile or residence) of the archon. These archivists were magistrates of the archive who governed and regulated the imperium. The function of these hermeneutic magistrates was as guardian and interpreter of the deposited documents the privileged location protected. They imposed the legal state in a transition from the private to the public. Their power was of unification, identification, classification and consignation in a collection of signs and information. The archive (as a system, synchrony or configuration of memory and record) coordinates the historical principles of ontological commencement (i.e., real, actual or existential being including the physical or natural pyhsis and technical or artificial techne) and nomological commandment (i.e., legal or conventional nomos and logical or epistemic thesis) in an exercise of order. The philosopher Jacques Derrida distinguishes sequential and jussive order. He argues the place of the archive "determines politics from top to bottom as res publica. There is no political power without control of the archive, if not of memory." Democracy is measure by "the participation in and the access to the archive, its constitution, and its interpretation". The cognisance of the episteme is a conscious standpoint (existence) of science (scientia), as an inquisitive examiner of history (historia) and observant spectator of theory (theoria). Academic archives (e.g., libraries, museums and institutes) are institutions and organisations of authenticity and authority. They construct—in recognition, acquisition, appreciation, estimation, evaluation, classification, circulation, allocation, preservation and protection (conservation and progression)—a narrative of mythic and historic significance for imaginary (artificial) and real (natural) communities as political guardians of manufacture. They emphasise the national or social memory of nations and societies, not the tribal or familial memory of tribes and families. This manifestation of control (decision or importation) of inclusion and exclusion in a public space of representation for a population is created in accordance to the conceptual "common sense" that reflects discipline to affect a modification in general and popular conduct. Artefacts of culture (social or national structure and familial or tribal memory as functions of the forms of cultivation, obligation, religion, rites, cults, apprehension, comprehension, information, action, passion, language, philosophy, values, facts, history, myths, significance, cognisance, sentience, sapience, experience, credence, confidence, science and ideas) exist at the intersection (inclusion and exclusion) of the communal and the individual (social and personal entities of the general and the special or the public and the private spheres).

History studies (differentiates and integrates, or analyses and synthesises) the temporal change of spatial dispositions (i.e., probable evaluation of the mental and corporal evolution in factual context and actual circumstance) with their continuity, complexity, causality and contingency. The fragmentation, omission (exclusion and inclusion), revision (modification and mutation) and assimilation of natural and artificial reality results in the historic and mythic narration of collective memory contained in common (popular and vulgar) culture. In the communal selection and collection of a contextual order of texts (records with form and content) in a community, archives contrive a commemoration of collective memory. Collective memory is informed by the integration and differentiation of conscience (conscious states) of personal entities with identity and existence (organic and physical substance of material incorporation with corporal phenomenon and mental epiphenomenon) that are members of a society. Its narration of history (the mythic past) is a communication of individual memory (ideas, concepts and values) by logic (language and symbols with grammar). It forms a totality (plural and communal unities) in a national and mutual society of contracts, cultures, families, and tribes. These confederal groups adopt and recognise "friends" or associates as members (comrades or companions in comradery or company). Maurice Halbwachs argued that commemoration is an affirmation of impression by ritual expression. For the subject, memory is the actual intermediary of virtual history and reality (the real object). Memory corresponds to a formal fiction, creation or invention in conscience. Its nature is fallible, imitable, corruptible and mutable to facts, artifice and illusion. It is reinvented by superposition and transformation in a palimpsest. The common psychic model distributed to the collective is formed from the association of parameters and connection of variables. The classification of discontinuities in sparse information (dispersed cognisance and significance) creates a consistent and coherent continuity (physical and logical reality) in regression. The human condition in social existence is a functional and structural institution of interaction (interconnection and interrelation), a system of relative (reflective and subjective) construction of incidence. The attention and operation of subjects with perceptual observation and sensation and conceptual imagination and cognition occurs in the informative experiences of conduct, response, and proprioception (recognition of position in space with the conception of perception, motion of emotion, and action of reaction) with objects in the situation. The information of communication is the expression of conscience. In culture, ritualisation is a process of evolution that maintains common conduct for social relation, interaction, presentation and exposition. The formation of rituals (the modes of rites in cults) reinforces community and positions precedence of social significance and formal value as superior to the functional and practical use of cultural practice. The synchrony of actions in group cooperation provides comfort (i.e., reassures security and certainty). This cohesion from predictable repetition (previsible in anticipation and expectation) is imperative in situations of risk and fear (e.g., the peril of maladies, infections, conflicts, wars, violence, disaster and catatrasophe). The social orientation results in the interpretation of the observation of ambient events (experience and inference of consequences and occurrences) as with the tendency of searching for comprehension of cause and effect (common in origin with scientific inquiry). Religious rituals preoccupy the interests of aliment, hygiene, sanitation, sexuality, family and property. Their benefit and efficacy of control depends on their response in the prevention of risk. Rituals persist in the secular, modern era of society. They communicate collective memory as conceptual and subjective media (plural of medium) of narrative history in a social context and tradition. As in nostalgia, the access of memory simultaneously informs and reforms it.

Media

Article 19 of the Universal Declaration of Human Rights (UDHR) guarantees freedom of information (e.g., publishing medium, press, stamp, imprint or forlay) in its coverage of the freedom of opinion and expression, which includes speech. Authors (writers in the literate culture) of literature include novelists, essayists, poets, playwrights, screenwriters, lyricists, dramatists, librettists, journalists, and historians. The voice of literature (publications and documentations) is a combination of editors, authors, and narrators. The predominate use of English in political discourse is reflected in the academic, scientific, technical, and medical communications in the published peer-reviewed journals such as Nature, Science, Cosmos, Spectrum, The Engineer, The Symposium, Philosophical Journal of Science, and Atlantean Medical Journal. The IEEE is notable for its journals. The Atlantean Academy of Sciences and Arts (Academia Scientiarum et Artium Atlantida) is a society (association or organisation) that publishes a periodical review. The revision by peers is a critical procedure of selection, evaluation, and verification of work (articles, or research projects proposals and results) by members of the academic community of consensus. The publication with edition (version) by the author in vanity and without evaluation (revision) by peers is not approved, accepted or appreciated. The critics are erudite experts with similar credibility (competencies and confidences, the opposite of incredibility) as the producers of the work. Criticism is a necessary and natural limit the august ego of humanity and its ideas, systems and structures. In the activity of communication (the practical process of creation, publication, and dissemination), they determine its adequacy, sufficiency, or propriety for publication (e.g., in journals and reviews) or conference presentation (e.g., in proceedings and transactions). A composition is a logical organisation of elucidation and illustration: an explication, exposition, exhibition, expression, examination, speculation, narration, description, demonstration, and presentation. In communication, a paragraph consists of a singular or plural group of sentences that functions to form a coherent unity of "points" (ideas, concepts, categories, images, topics or the subjective interpretations and arbitrary abstractions of Nature and its reality). Its artificial universe is both a fusion and articulation, a union of significance, sapience and cognisance as information in relation to the thesis of the essay and in a discursive argument and process of parrhesia, the mode of discourse (consideration, conversation, dissertation and discussion of subjects and their objects) of a parrhesiastes related by Michel Foucault.

Publishing houses widely publish literary fiction such as art and myth (novels and poetry of prose and verse), and non-fiction such as commentary, history, and science. Works of mythic, historic, artistic and scientific fiction as fact in a fantastic imagination or false verisimilitude. The houses are distinguished by the typographic marks of printers with the most famous emblems symbolising literary adages. The largest book publishing house in Atlantis is also Heliopolis-based, Athena Press. Second is Apollo Publishing, and third is Librum. The fourth largest publishing house of Atlantis, Penguin Books, is located in New York. The editors and designers of its imprints are notable for their richly illustrated, informational, visual reference books (e.g., dictionaries, wordbooks, encyclopaediae, compendia, atlases, and almanacs) and graphic guides. The publisher Éditions Muses, following in fifth, is based in Rio de Rosa. Pleiadi Editore, the sixth largest, is based in San Francesco. Independent publishers fill the remainder of the market. For instance, academic publishers include Akademia (the Mouseion press), Technion Press (of the Pacific Institute of Technology), Humanitas (of the University of San Francesco), NUT Press (of the Nova University of Technology), University of New York Press, and Paradigm (of the University of New London). The latter is known for its volumes and tomes (an anthology of history, vocabulary, lexicon) of the Novan English Dictionary (NED) and Encyclopædia Nova (Latin for Novan Encyclopaedia) that have adopted—with the advent of the WWW and the Wiki Media Text (from the Astronesian wiki meaning "rapid, quick", plus "web" meaning "spun string, cord net, or weave of thread and yarn" in conference to a technical and connective texture or textile of files or filaments that fabricate and construct a signal, form and image) systems, structures, projects and principles—collaboration, creation and production based on free-access, open-commons and peer-review of knowledge (a periscope of cognisance) edited by academic curators. The WWW furnishes mercantile and retail access to a central index (directory, registry, inventory or foretoken) of antiquary books. This telidon (from the Greek τῆλε or tele meaning "far, long, distant" and ἰδών or idon "see, view, perceive") service provides symbolic, graphic and acoustic text (video and audio data) of informational images (pictures and sounds). These ligate (collect and connect) as connections (i.e., ligatures or ligaments, links or lanks, and bands or bonds) to the memory of history.

In memorial publication (celebration and commemoration), a book to honour an academic for an anniversary is a serial volume (from volumen as a "chart(er), c(h)artulary", from charta, chartula, in comparison to a "role, roll" from rotulus, rotula) edited and contributed to by colleagues, students and friends. This "feast script" or liber amicorum is presented as a collection in respect of the personal work of an academic. It is, as a literary genre, a retrospective and prospective that roops and cries for operative effort and energetic progress in a discipline, science, art, or intellectual vision. To think and thank, its objective is to pass and carry the torch, symbolic of light and love (e.g., Hymen or Hymenaios who was a son of Apollo and a Muse, and the conjugal Erotes named for Eros). The amiable and amicable contributions are sophisticated, competent, capable and professional with a bibliography and index of important works. An academic lays or leases a Nachlaß (legacy) of a collection of manuscripts, notes and correspondence near (nigh) their mortality. An anthology is a mixture or miscellanea (a miscellaneous and various collection of articles, topics, subjects and trivia as in a miscible and soluble variety, diversity or impurity that is promiscuous in promiscuity and heterogeneous in heterogeneity, not homogenous in homogeneity). The primary encyclopaediae in history is the Naturalis Historiae ("Natural History"). This Roman work in Latin was authored by the naturalist, natural philosopher and imperial administrator Gaius Plinius Secundus (Pliny the Elder) who was a friend of the emperor Vespasian. He dedicated it to Titus, the son of the emperor would succeed him. In the prologue (preface or preamble) he writes vita vigilia est, or "to be alive is to be vigilant". Dissimilar to modern encyclopaediae, he divides his literary recreation of Nature into Aristotelian categoric forms of animal, vegetable and mineral. It is a unified and varied excursion of divine and pantheistic Nature as a natural and vital concept of the science of antiquity inspired by the Stoicism. It differs in scope from modern biology and ecology with its ambitious discussion of cosmology, astronomy, mathematics, geography, ethnography, anthropology, physiology, zoology, botany, agriculture, horticulture, medicine, pharmacology, mineralogy, metallurgy, sculpture, architecture, jewellery and art. The central theme is the holistic coherence of the diverse multiplicity and multiplex versatility of Nature with its natural materials and manifestations. He is critical of magic and astrology. The modern Encyclopédie, influenced by the reasoned universal and systematic dictionary of science and art (e.g., the physical artifice and the political history of industry, ministry, commerce, manufacture and culture in Nature), was edited by the Encyclopédistes (French for "Encyclopaedists") of the philosopher Denis Diderot and the mathematician Jean-Baptiste le Rond d'Alembert. As an academic company (association of authors with a house of publication and production, or société des gens de Belles-lettres) with radical and intellectual contributors, their figurative system of human cognisance represented the natural and artificial structure (a systematic, synoptic and schematic organisation that is a "circular" scheme and schedule for education and instruction, i.e. encyclical, intellectual, universal and general classification inspired by the Instauratio magna of the empiric Francis Bacon) as a taxonomy of memory (history), reason (philosophy) and imagination (poetry).

Despite an integrated international media landscape of television, radio and internet, the norms of the logos are derived (established, affirmed, founded and consolidated) by the information and tiding published by print media. This is because of historic and economic factors. The economic model of electronic media relies on revenue from public promotion and sensationalism, while the slow-changing nature of print media in book and newspaper (the figurative public "post" of the forum and agora) publishing relies on an ethos of journalistic integrity and academic credibility. Aural and visual media is predominately pathos. Often aural and visual "news" media will broadcast newspaper reporting. For example, journalists, reporters, correspondents, columnists, editors, writers and authors are guests on the nightly and weekly current affairs programmes on ART (e.g., Frontline), the joint Palman-Alexandran produced and directed multilingual network. Academics (professors and students who are masters or graduates with a baccalaureate that are pursuing or with a doctorate in the research of a subject) author articles (commentaries and studies) like clerics for the lay and other clerics. Editors commission them to write and collect the informative content for publication. Sophistication is the expectation, with fine nuance (astute and subtle refinement) in analysis or synthesis. The honour code of ethical conduct requires the principles of authority (the qualifications and credentials of authors, with transparent and accessible contact relations and revelation of financial dependence), attribution (of complementary citation, quotation and information), and justification (of assertions and declarations for editorial confidence as evaluated by the public). The social function of journalism is a reflection of culture as a preliminary project of history, whilst its investigation provides a version of legislation in the political economy. An open and free media is necessary for democracy because it informs the demos (people), who rule best when educated by combating the tyranny of personal ignorance and the megalomanic narcissism of a demagogue or ochlagogue. It is imperative that the media is a conversation subject to uncertainty of the factual revision of historical truth. The competency of the alphabet and letters is central to education in literate societies (compared to oral communication of history and literature). It is the capacity to read (lease or lecture) by visual or aural comprehension (vision or audition) and write (script or scribe) in a symbolic representation of language.

Independent of modality, media are prone to distortion, and become propaganda (from the Latin propagare for "to propagate, disperse, distribute, disseminate, promulgate") in publicity when biased for an agenda. Consider the effect of a mole, taupe, spy and leak as a fugal perdition, publication, propagation, revelation, divulgation, dispersion, percolation, filtration and infiltration of a porous substance or organisation with permeable pores. Propaganda only occurs with the existence of a barrier of censorship between the event and the public. Therefore, mass communication media are vulnerable to manipulation that distorts the transmission of information: an inherent perceptual parallax of the structure of communication. The publication of notices and history, by their nature, are a subjective interpretation of events. With the difficulty of organisations to report with impartiality and neutrality, these forms of rumour are practices of subjectivity (incomplete objectivity) that propagates information of mutual interest as an alternative to to direct observation that monitors cooperative reputations for social and indirect reciprocity. By extension, truth is a reality or representation of facts. Fact is the synthesis of the analysis of facts (probable evidence). Humans, as the public, are unable to entirely interpret the world, with the real environment far too vast and complex for sufficient direct observation. Instead, humans create a world that is a mental image of the mind's eye. This imagined world is a subjective, abridged, and partial construction, almost a fiction. Humanity, according to Walter Lippmann in Public Opinion, "live in the same world, but they think and feel in different ones." In response, Edward S Herman and Noam Chomsky propose a model to conceptualise propaganda in Manufacturing Consent: The Political Economy of the Mass Media. They argue that there are five filters that create structural bias of self-censorship of a medium:

• Ownership,
  

• Funding,
  

• Sourcing,
  

• Enforcement, and
  

• Fear.
  

The corporation of a medium, i.e. owned by its proprietors and investors, are compelled by the commercial forces of the competitive and cooperative market. Profit motive and economies scale require large capital investment of the infrastructure necessary for the medium to be accessible by the observer, or members of the public. Funding, the revenue necessary to operate, is primarily generated from publicity instead of subscriptions (transactions and contracts of abonnements). (Publicity including print notifications, promotions and advice are typically affixed to cylindrical structures, columns or murals situated and erected on the pavement and streets of urban cities.) In other words, the public becomes a product that is sold by the medium's corporation, leaving it beholden to others seeking influence. These two filters result in a conflict of interest between profit and fact.

In the search for facts, the medium is bound in a "relationship with powerful sources of information by economic necessity and reciprocity of interest". These sources, the bureaucracies of governments and corporations, serve as guardians, controlling who and what is receiving information. Sources control the "spin" of the information provided. If authors of a medium questions the veracity of the information or counters the political and economic interests of the source, they face the threat of denied access. This only furthers the dissonance for the medium. Moderating feedback that the medium receives in the form of negative responses to presented information, deters critical information of institutions. The lack of criticism is enforced with the threat of increased costs or decrease of revenue. As the fifth filter, the artificial ideology of fear or angst controls society by encouraging the acceptance of authority and the silence of dissent. Combined, the five filters, where structures are censors, result in the "manufacture of consent" of the public, with the interests of democracy and the commons ignored. The media exists in a bi-directional relation of influence with the state and society. Common values (expectations, presumptions and suppositions) comprise the consensus (the paradigm of the affairs, arguments, themes, matters signified as important in discourse or "spell") it conceives as the public. Beyond is if the realm of controversy, where the opinions of information and reasons of advocation are of debate. The media limits subjectivity in favour of a forced objectivity, or a disinterest in the individual perspectives. The controversy determined to be deviant (incredible, or not acceptable, plausible and credible) are rejected by the collective consensus. In the electronic media (product) landscape, members of the public are able to moderate their consumption to the consensus and deviance they prefer.

The Atlantean society and culture has transitioned from oral tradition to the literary verbal expression of archetypes (stereotypes and prototypes) as the communication of impressions (imagination and cognition of conception from perception in the extension of intension). These are associations, connections or correlations in the representation of individual and collective memories. In a topology (a study of stell, place or position), the medium (figure, Gestalt, form, configuration, image or character) and the context (ground, or the ambient circumstance, condition and situation, which is related to the subtext or the subsidiary "understream" that connotes for interpretation as implication or implicit connotation, in correspondence with explication or explicit denotation) are solely intelligible in conjunction. The forms structures, logics and grammars of media in communication are divided from the function (message or functional content) of the transmitter. This expresses a holism where the whole is greater than the constituent, component, individual and elementary parts. Its principles include totality, proximity, vicinity, similarity, continuity, causality, symmetry, illusion, interpolative completion, emergence, constructive or generative reification, multi-stability (multiple equilibria), invariance, organisation by analysis (differentiation, segregation and selection) and synthesis (integration, aggregation and collection). A tetrad (as a chiral band and non-orientable surface in three dimensions of August Ferdinand Möbius or Moebius with a topological frontier homeomorphic to a two-dimensional circle as a bijective and continuous function) graphically describes how the medium simultaneously transforms as it ameliorates (magnifies, amplifies, intensifies or augments) and recuperates the qualities of the figure, and obsolesces (reduces or diminishes in prominence) and inverts the qualities of the ground. It contrasts with sequential, causal and logical model of communication in Shannon's information theory. The semiotic philosopher Umberto Eco criticises this reductive "the medium is the message" as a conflation of the medium with the channel, code, and message. Eco argues the formal medium is a representation of the codes of transmission in a transduction of experience of reality. The receiver (observer, audience or spectator) is the central aspect (attribute, quality, trait or characteristic) of the communication process whose interpretation of the content applies codes of reception (signification) to become the message. Interpretation uses mental concepts as a mediation to determine the significance of other experience as the subjective projection of physical (natural or artificial) objects and formal percepts of sensual observation by the senses of sensation in a geometric field. Media include the visual (video, apparent and evident vision of visible spectral illumination) and the aural (audio, acoustic, phonic and sonic audition) in the spatial and temporal dimensions.

The popular historian (i.e., not a professional academic of the narrative sequence of historiography and chronology, which is an inventive and creative fusion of a focus and field of possibilities, opportunities and competencies, and a perspective of vision, intuition and inspiration resolved in the apprehension, comprehension and interpretation of facts and ideas) and author Barbara Tuchman (née Wertheim Morgenthau), in a literary approach (approximate) to history, identified (in observation and formulation) the subjective expectation of probability of a sporadic and stochastic occasion. This prevails in the convictions and opinions of humanity, whether general or special, global or local, complex or simplex, and pessimistic or optimistic. In the evolution of time and space, the fact of being chronicled (reported, recounted, related, recorded, documented and informed in memory) multiplies, amplifies and intensifies the ubiquity, continuity and extremity (evident, apparent, omnipresent, persistent and frequent periodic extension or cyclic application in pervasive diffusion, permeation and penetration) of a deplorable historical or phenomenal event (disaster, perturbation, tragedy, calamity, crisis, cataclysm or catastrophe). Similar to the philosophies of the epistemic, ontic, cosmic, aesthetic, symbolic, semiotic, economic, nomic (legal), glossic (lingual), politic (social), ethic (moral), mystic (spiritual), metaphysic (fundamental), physic (natural), technic (artificial), theoretic (ideal), practic (actual) and logic (rational), history is a virtual art of the critical accumulation of historical fact—analogous in universal sapience, sentience, cognisance, significance and substance to the empiric (experimental) fact of real science—with systemic (structural) examination, mythic (fictional) imagination and psychic (mental) cultivation. The study of historiography is an evaluation (comparison and consideration) of factual (actual, not potential) history with the mythical and textual narrative as an idealisation (imaginary illumination and illustration) of significance. This representation is a transformation of fact to value as a formal and semantic paradigm or model in the memory and cognisance of a functional and syntactic structure or institution. The education of the conscience is a process of conception and construction from the inception and instruction of perception and sensation. The human mind (as a organic or vital organ that is substantial, or existential then essential, and material, chemical and animal, but neither vegetal nor mineral) is a conscious energetic and epiphenomenal possession by intellect and sense in the capacity and faculty of cognition—symbolised as the Muses of memory—in the action (motion of an agent) and the passion (emotion of a patient) of the somatic (corporal) person. In historiography, the selection of documents of sources form the historical narrative. The secondary source—with its retrospective perspective and distortion of the factual or phenomenal situation—analyses (relates, references, cites, discusses and comments) the primary source as an original artefact of information and direct cognisance. A tertiary source synthesises (consolidates, collects, resumes, summarises and aggregates) these in a compilation (synopsis or compendia) such as encyclopaediae. The historical method consists of a criticism and evaluation of the relative significance (authority, integrity, credibility, fidelity, felicity, sincerity, honesty, dignity, plausibility and probability) and accuracy of evidence and testimony by analysis and synthesis. These possibilities are constructed in a history. Compare this to the parsimony and falsification of the empiric (experimental) observations by the scientific method.

Reporting

The three largest news (notices) organisations (of telegraphic despatches) are the Nova Press (NP) based in New York and New London, the Atlantean Press (AP) based in Heliopolis, and the Palman Press Agency (Agenzia Palmana di Stampa, Agencia Palmana de Noticias, Agència Palmana de Notícies, Agência Palmana de Notícias, Axencia Palmana de Noticias, Agence Palmane de Presse) based in San Francesco. Electric telegraphy instituted the infrastructure for a "rider" ("courier" with a "route" and "circuit") to report and communicate international current affairs (political, economical, and philosophical notices and messages as impressions and annunciations) with efficiency. Positioned as modern guardians constituted of personal corps (staff symbolised by the caduceus from κηρύκειον or kērū́keion, as the sceptre of the messenger Hermes, which is guarded by serpents and is connected to the myth of the transgender T(e)iresias, a prophet of Apollo who had begotten and borne the oracle priest Manto) members, these are the public observers, inquisitors, inspectors and investigators of notable, probable, reportable and communicable information of the industrial human era (i.e., the societies and communities of politics and economics). They profess (confide in) the principles of "(con)fiability", or the culture of honour to preserve editorial independence and to prevent the propension, inclination, disposition, preconception, prejudice, preference, influence, favour, partiality or tendency for one party, group, faction or interest. Each of the major cities of Atlantis have historically had at least one newspaper published. While this is not the case any longer for secondary capitals, this as rule holds true for the primary capitals of New London, New York, San Francesco, Rio de Rosa, Milan and Heliopolis. However, newspaper companies are transitioning from the traditional print press to publishing on web platforms. The model they utilise resembles the cadence of a "tumble" (edit) of "posts" (articles) and a "web log" named for a "log book" (Greek περῐ́πλους or períplous and Persian رهنامه or rahnâme) of a navigational ship or vessel that was used to document its celerity in the maritime medium of water (estimated motion in space for a specific time measured by mariners with a "log" with regular, normal and uniform intervals or nodal "knots" of a line, which is the origin of the nautical mile per hour or 1.852 kilometres per hour). The media of this model consist of federated and distributed nodes connected by cybernetic protocols of communication of (syntactic and semantic) information in algorithmic aggregation. Nonetheless, the 20 largest national and daily (diurnal, a cognate of "journal" and an opposite of "nocturnal" for "nightly") newspapers (with city of publication) in the Atlantean Union, and therefore the Atlantean continent, by circulation are as follows:

These newspapers (periodicals, journals, diaries, or couriers) are either written in English, Spanish, French, Italian, Portuguese or German, each depending the lingua franca of the readers and city of publication. Depending on the lectors, they publish international and multilingual editions. The most notable are considered and valued to be presses of reference or record for a reputation of exactitude, consistency, attention, diffusion, quality, stability and editorial independence in an expression the liberty of publication. Others register with the public authorities (administrations of jurisdictions) to publish notices (e.g., that announce fictitious or fantasy commercial names of corporations, distinct from the social denomination or legal appellation for the identification of the entity with responsibility). International news from strange nations are popular. A partisan "little book" or brochure is designed for propagation and proliferation in the distribution and circulation of information (tract, opuscule, codex or publicity announced as a "circular" propaganda or prospectus affixed and "loved by all, beloved of all", from the Greek pámphilos or πᾰ́μφῐλος) with themes of politics and satire. The publication and circulation of weekly (hebdomadal or septimanal) and monthly (mensual, mensal or menstrual) magazines (reviews) are also notable. The 10 grandest in popularity include:

The subject matter of these current affairs, contemporary issues and commentary magazines ("round shows") range from cultural to politic, economic to scientific, artistic to modal, culinary to literary, and in that respective order. This reflects the Atlantean zeitgeist ("spirit or ghost of the time, tide, period, epoch, aeon, era or age", in reference to figurative temporal, mental, and vital energy of human history), that is the priorities and values of the contemporary collective conscience. The term "ghost(l)y" refers to the mental, intellectual, animal and spiritual humour. In terms of historical and contemporary cultural importance, architecture is positioned in parity with music, literature, picture and sculpture as modal (aural or visual) arts. All of these genres are covered in Atlantean media and contained by public cultural institutions. Topics can be for a specialist (instead of a generalist) public. For example, the Federal Geographic Society of Nova-Lox that publishes its editorial and national magazine for public circulation is notable for its geography, photography, cartography and collaboration with Encyclopædia Nova. The aesthetic of illustrations with a graphic, athletic, and erotic sexuality influenced the design of magazines (from مَخَازِن‎ or maḵāzin, the Arabic plural of مَخْزَن‎ or maḵzan for "depot, depository, repository") because of the decadent, modern and new decorative art style (i.e., the mode of Aestheticism). The "people" or "match" magazines are not popular because they are considered—in a rejection of an evitable pseudoscientific bahuvrihi—to be not of sophisticate or intelligent culture.

Style

The multilingual cultures and societies in Atlantis result in the translation of works (transduction of a signal) into the Atlantean languages. There is a division of literal or intentional interpretation of a communication, or a text (form and content) and its context. Similar to the compositions of music, each interpretation of literature is not a presentation or reproduction but a representation and production. A metaphrase of formal equivalence (verbum pro verbo or "word-for-word") is in contrast to a paraphrase of functional equivalence, which is dynamic and modifies the linguistic "letters" (original sememe or semantic structure, word order, and voice) for intention of significance ("message"). A literary metaphor is symbolic (figurative or representative) expression or reference of an image (e.g., a picture, parable, analogy and allegory). The dual criteria (plural of criterion) of fidelity (accuracy) and felicity (transparency) respectively correspond to the absence of distortion and the semblance of the idiom (the syntactical and grammatical structure in the language of scope or objective). An interpreter (transducer or translator) with bicultural and bilingual competencies creates a judicious equilibrium of these equivalences and criteria that connects denotations in addition to connotations. This construction of complexity originates from the inherent ambiguity of sentences of language. The information content is the ideas of texts (as prose or verse) of fact (acts of action, motion, manifestation, perception and observation, which are actual, presented, exhibited, demonstrated, illustrated, described, and neither prescribed nor proscribed) and fiction (drama of tragedy and comedy, the fables and myths of conception, interpretation, abstraction, imagination, cognition, narration, invention and creation) in context. Roland Barthes distinguishes texts as either legible (with a consumer or passive lector) or scriptible (with a producer or active lector) with codes of polysemy and symbology (semiology, or semiotic syntax, semantics and pragmatics) that inform its composition. These codes as temporal and generic structures are either irreversible (hermeneutic and proairetic, as a diegesis or a sequential and thematic narrative of the interpretation of enigmata and the implication of conductive actions) or reversible (semantic, symbolic and cultural, as the connotation or correlation, the constitution or mediation of proposition/opposition and thesis/antithesis, and the gnomic cognisance and sagacity of the physical, logical, historical, technical, medical and scientific).

Profanity and obscenity are not censored in the publishing and broadcasting Atlantean media, except by choice of the institutions of author and editor in the liberty of creation and ideas. Dr Gaudencio Turnips, a journalist, author and comedian, is famous across Atlantis as a facetious master of comic irony, intention and insinuation. Comedy in Atlantis can be characterised by its provocative, satiric, ironic, caustic, sarcastic, paronomastic, mordant, jocose, surreal, absurd, deadpan and droll humour. The term "lampoon" (from the French lampons as the first person plural imperative of the lambent chant "to lap" a beverage) refers to scurrile satire and ridicule. Satirists adopted honi soit qui mal y pense ("shame be to them whom thinks evil there") in jest. More populist like comedy (and unlike academic literature, classical music and visual art) content includes political (social, communal, tribal, familial and cultural) criticism (e.g., the lithographer José Guadalupe Posada Aguilar who was inspired by calaveras manufactured with carton-pierre and papier-mâché, which references paper of papyrus or amatl, and as piñatas or pignatte, which references a representation of a sculpture, statue, character, mode, model, effigy, figure, image, form, species, genus, type, symbol, idol, icon and eidos). Franco-Belgian cartoons (sequential and graphical art in pictorial albums of drawn bands, vignettes and panels with balloons, fumes, banners or phylacteries that denote and express dialogue, speech, song, thought, and sound as words, symbols and letters). Examples of genres include the satire of Asterix (Astérix with his companion Obélix in the original French scripted by René Gościnny and illustrated by Albert Aleandro Uderzo about Gaulish warriors contra the Roman Republic in an ahistorical narrative of a village not conquered by Rome and Caesar subsequent to the Gallic Wars), the action of The Adventures of Tintin (Les Aventures de Tintin in the original French by Hergé about an intrepid young male reporter with his friends consisting in part of a white hound, a merchant marine captain, and a distracted professor, amongst other characters; see the pages by fanatic and enthusiastic aficionados or "typhoid" and "motive" admirers of the science, the terrestrial automobiles and the aerial aviation in the series, in addition to the critics of Michael Farr, Benoît Peeters, Philippe Goddin, Pierre Assouline, Numa Sadoul, Yves Rodier and Harry Thompson), the science fiction of Blake and Mortimer (Les Aventures de Blake et Mortimer in the original French by Edgard "Edgar" Félix Pierre Jacobs, a collaborator of Hergé (RG<GR from the initial letters of Georges Remi) like Robert "Bob" Frans Marie De Moor, and the history of Alix (in the original French by Jacques Martin about a stupendous and sensational young, Gallo-Roman man). The latter two, like Jean Henri Gaston Giraud (Mœbius), are notable examples the "clear line" (ligne claire or klare lijn) schematic style. In addition to an intrepid boy from a chapman's haven of the Danes, Tintin is proposed to be inspired in name and form by a tintinnabulum (an ithyphallic fascinum) from Hispanic (Catalonian and Iberian) Tarraco (Tarragona<Tarracona). The Francophone series (serial or sequential fascicles) about Babar, the king (royal monarch and regent of a regal realm in a political regime that is an elective monarchy) of the Land of the Elephants (Le pays des Éléphants) his relations Zephyr and Celeste, are adored by young people. It describes and illustrates an African civilisation of animal society of equal rights and liberties for majority and minority populations. The capital port city with public infrastructure (transport, electricity and water) and institutions (schools, museums, parks and libraries) reflects the Atlantean urban social, national, cultural and colonial model that was proliferated and communicated (transmitted and received) in exchange and migration. Compare these fictional histories and voyages by Jean de Brunhoff to the Railway Series with Thomas the Tank Engine and his friends. The works of Alan Moore, William "Will" Eisner, Itzhak Avraham "Art" ben Zeev Spiegelman, Joann Sfar, and Marjane Satrapi (مرجان ساتراپی) are popular cartoons (from "cartons", as the Italian cartone from the diminutive of carta or "chart") of drama in the tradition of New London and New York.

In an album, the author Maurice Sendak described and illustrated the wild tumult of juvenile emotion. The novels for youths by the author Roald Dahl (influenced by Rudyard Kipling) are characterised by juvenile, puerile, ridiculous, malicious and grotesque (grottesco from grotto), silly ("sely") humour that is juxtaposed with retributive justice and vengeance to counter the deceptive hypocrisy of mature adults. The existential alienation of orphans is a common theme in the preferences of Atlantean readers. For example, La vie devant soi by Émile Ajar (a pseudonym or alias of Romain Gary, nè Roman Katsev, who was a friend of Albert Camus and was respected by Jean-Paul Sartre) recounts the history of a young, Muslim, adolescent Mohammed "Momo" assisted (preoccupied, interested, imported, cogitated and cured) by an old Jewish and past prostitute, Madame Rosa. It discusses themes of self-determination, euthanasia, transgenderism, prostitution and immigration. A series describes the subsequent adventures of the four orphans who constructed a home in a goods van with their hound prior to being guarded by their rich (affluent, opulent and abundant) grandparent. In light of this taste or sense, The Series of Unfortunate Events by Daniel Handler are macabre (from the Arabic مَقَابِر or maqābir meaning "cemeteries") novels in the oral and literal tradition of the communication of cultural information (art, science, history, myth, and philosophy) transmitted to be received by young people. These books are in the genres of tragicomedy, Victorian Gothic horror, absurdist fiction, swart humour, and textual literary allusions. They document the transition the juvenile idyllic innocence to the philosophical ambivalence (relativism of moral complexity and ethical ambiguity) of maturity. They comment on the follies of the human condition and mortal nature, of which humanity succumbs in inevitable temptation and individual decision to the detriment of freethought in personal intellect and expense of independence from social authority. The style is similar to the abecedarium ("abecedary") distichs (strophic couplets or pairs of verse in rhyme and dactylic syllabic poetic metre) of The Gashlycrumb Tinies by Edward Gorey (a friend of Francis "Frank" O'Hara) with its cautionary, sarcastic and morbid humour. The three orphan characters (protagonists, two sisters and one brother, menaced by the antagonist Count Olaf) are named for Charles Baudelaire (whose decadence influenced the poets Verlaine and Rimbaud). Baudelaire described modernity as the ephemeral (fugitive, contingent and mutable) experience in the "human desert" of the urban metropolis. Artistic expression is responsible, dissimilar in antiquity, to capture, extract and distil the "poetry within history" and "the eternal from the transitory". The literature (letters) of literary modernist authors were experiments of innovation and expression. They emphasised brevity (succinct concision) and the precision of imagery, whilst expressing cynical (pessimist) disillusion with institutions and absolutes. Symbolism was a precursor to this modernism. It reflected doubt of metaphysical realism of philosophy, or expanded upon it with multiple, relative perspectives of conscious narrators. Others captured the absurd condition and absence of significance of human existence. Acmeism (from ἀκμή or akmḗ for "point, pinnacle, culmination"), proposed by Mikhail Kuzmin (who was translated by Valery Salatko-Petrische), contrasted the ideal of Apollonian clarity with the Symbolist Dionysian frenzy. It claimed the Parnassian movement, Pierre Jules "Théophile" Gautier (who was lauded by Baudelaire), and Alexander Pope. This Neoclassicism preferred direct expression through images, not indirect intimations through symbols. Academic and historic art united classic line with romantic colour.

The Renaissance humanist François Rabelais (an anti-clerical and ecclesiastical critic of scholasticism and monasticism, and an admirer of Desiderius Erasmus and the Socratic Symposium) is notable for his pentalogy of satirical and philosophical "Romans" (La vie de Gargantua et de Pantagruel) of invention and creation in artistic literature. The erudition and education of his composition defies the personal capacity for cognition. The orifice of one of its titular characters (who are giants) is referenced in Act 3, Scene 2 of As You Like It. He inspired Balzac to author La Comédie humaine. These satires promote universal humanity. The Abbaye de Thélème ("Abbey of" θέλημᾰ or thélēma for "volition, desire, pleasure") his utopia describes an anti‐monastery commands "fay çe que vouldras" (or in modern French fais ce que tu voudras" for "do what thou wilt"). The novels are a heroic and comic parody that is dependent on experience and is distinct from the tragic, epic, lyric, poetic and rhetoric genres with its ideologue and dialogue (rather than the monologue of dogmatic orthodoxy, that as a dialogic is an existential and a relational coexistence of implicit ideology in relative discourse, not the explicit resolution of a contrapuntal tension of a thesis and antithesis by synthesis). The literary critic Mikhail Bakhtin argues that he juxtaposition of different perspectives is a syncrisis, whilst the interlocution of verbal opinions is an anacrisis. It is a process (expression and exposition) of a situation and conception by the representation and evaluation of the image of an idea. He identifies the social norms and habits (institutions, conventions, organisations and associations of society) as the costume and mask that the literary mode subverts the quotidian system and liberates through gross humour and caricature, and the permission of eccentric and extravagant conduct in familiar interaction and contact where individuals are transformed as equals in a collectivity and community. The material, sensual and corporal unity transcends the spiritual, intellectual and mental with personal liberty and equality. It is a temporal profanation with profanity (blasphemy, sacrilege and desecration), obscenity and vulgarity. The obscene and vulgar is characterised by the penetrative (the active and the passive) in an exchange of the sexual, carnal and spatial dimensions with the world of authority and austerity. In ridiculous celebration (not condemnation), it reunites the young and the old, the good and the evil, and the celestial Heaven and the infernal Hell in the terrestrial (mundane) World of Nature. The spectacular realism of the grotesque is proud, excessive and progressive as a connection to degradation (evacuation and excretion) and revitalisation (renovation and regeneration) by the ambivalent cycle of evolution. Bakhtin is influential in the linguistic and semiotic study of functional and formal structure (e.g., culture, method, content, text and context) of language in the communication of politics, ethics and aesthetics.

Russell distinguished philosophies by a rational and a gnostic metaphysics, an authoritarian and liberal politics, a deontological and natural ethics, and a system (process or method) of deduction and induction. These are either synthetic or analytic in the derivation (reflection) of cognisance, experience and reality with conditions of either philosophic or empiric inquiry. Contrary to the discrete analysis (special reduction or differentiation) of phenomenal and natural science, the transformation of continuous and holistic conditions of possible experience—in a synthesis (general resolution or integration) of the unity of theory and practice—determined by structural (textual, contextual, spatial, temporal, lingual, logical, relational, cultural, institutional, historical, theoretical and practical) factors interests the subjects (noumenal ideas and conceptual problems) of existentialism and structuralism. Derrida defined survivance as a spectral existence of continuity, and neither vitality nor mortality. It is a creative (active not passive, dynamic not static) survival by the presence and resistance of experience with culture. This interactive (discursive, creative, inventive and reflective) narration of memory and mythic history is a custom (institution, tradition and practice, not a theory. It is a critical process of contact, a syncretic transculturation or transformation, creation, communication, adaptation and acculturation that resists assimilation. The subjugated (marginalised) cognisance defined by Foucault is subordinate to a dominant sapience. Its historical contents in a structural (social, relational, cultural and lingual) context are recognised as inadequate or insufficient by the hierarchy (the aesthetic values of art and science). Its representation in the archive (a regime, method and paradigm) is a comprehension of formal systemisation in a functionalist coherence (i.e., as an object by a subject, or a serf by a master). Potent relations, in supervision (surveillance and vigilance), enforces corporal control with the carceral discipline of penal punition in the situational or local area of the individual person. The theory of the philosophers Derrida, Barthes, Foucault, Pierre Bourdieu, and Gilles Deleuze—a radical structuralism where structure is the systemic intermediary and reality of concrete, functional acts and abstract, formal ideas—influenced postmodernism. The intellectual and existentialist influence by Nietzsche, Heidegger and/or Sartre is present. In this theory, the comprehension of an object (a text, or a product) requires study of the object and the system of cognisance (the context of society, history, language and culture, or the relations of signs) that produced it. Artificial human phenomena are solely intelligible by their interrelations. The system of these relations constitute the construction of the global or total structure, with local variations merely superficial details. The theory argued the impossibility of the foundation of cognisance on either experience (phenomenon) or structure (systems of relations). This "post-structuralism" criticised the concept a structural, reciprocal and complementary binary dichotomy (a logical or axiological relation and opposition) that is defined as the organiser of value. It proposes a deconstruction and a rejection of the dominant and subservient position (e.g., presence-absence, rational-emotional and occident-orient) for its illusory order and superficial significance. Utilising this, social and cultural critics are notable for historic, economic, artistic, aesthetic and literary studies of analysis for conceptual synthesis.

The literary influence of the theory extended to the literature of Cervantes, Philip Kindred Dick and Kurt Vonnegut. Postmodern literature is characterised by an intertextuality of self-reference and self-reflexivity, and a fragmentation of metafiction and narration. As a principle, postmodernism contends the verity of actual historical events is subjective (a relative question and problem of the individual), not objective. Vonnegut was influenced by the comedies (comedy from the Latin comoedia and Greek κωμῳδῐ́ᾱ or kōmōidíā, the complementary genre of tragedy from the Latin tragoedia and Greek τραγῳδίᾱ or tragōidíā from ᾠδή or ōidḗ as in the "ode" of melody and rhapsody) of Aristophanes with their jocular (humorous, ridiculous and ludicrous), comic, sceptic, and pessimistic criticisms of civilisation (humanity and society) included the complexity of fantasy and absurdity. Vonnegut confronts free will as a critic of choice without determinations and conditions. For his characters, he creates artificial families (tribes, nations or groups of individuals in a community or association united or conjoined in a social contract for mutual benefit) to combat solitude in an extension of the natural. As a humanist, he emphasised the importance of contingency for humans in the universe, writing "we are here to help each other through this thing, whatever it is." The cinematic film adaption of Dick's Do Androids Dream of Electric Sheep? (a dystopian, fictional, futuristic, scientific and philosophic novel located in San Francesco that ponders upon natural and artificial intelligence) includes a monologue or soliloquy that is a reflection of the temporality and mortality of experience and memory, where "all those moments will be lost in time, like tears in rain". The work is an example of the cyberpunk ("cybernetic punk", which is an influence of the electronic and surreal "vapourwave" style) and noir aesthetic. Its title references an oneiroid of mental exercise that was described by Cervantes who substituted sheep with goats and adapted the fables of Disciplina Clericalis by Petrus Alphonsi (or Pedro Alfonso, né Moses Sephardi of Islamic Andalusia). The humanist and sceptic Arthur Charles Clarke, a peer of the author Stanisław Lem, wrote of human, existentialist, evolutionary, intelligent, conscious, sentient, progressive, philosophical, technological, nuclear, natural, artificial, technical, electrical and mechanical themes. Both authors (e.g., in the novel Solaris) discuss the absence of anthropomorphic personification in contact with extraterrestrial intelligence. The Slavic connections of Lem with Nikolai Fyodorovich Fyodorov and in relation to Freeman Dyson are intriguing when compared. Fyodorov, inspired by religion and Faust, created a theology with a religious ideology of art, science, history, philosophy, panpsychism and pantheism. This inspired Konstantin Tsiolkovsky, a founder of cosmonautics and a proponent of a consequential utilitarianism (the minimisation of sufferance or negative utility, not the maximisation of pleasure or positive utility). The ideology, as a humanist movement, promoted the exploration and colonisation of interplanetary space for the salvation of a spiritual society and humanity as the cosmic and pacific mind of a conscious creator of a state and luminous controller of the universe in the celestial solar system. It proposed noogenesis as an emergence in the evolution of natural, artificial, intellectual, technical, ethical and logical existence. The idea of humans existing on a space ship was principally introduced by Henry George, and popularised in dynamics (cybernetics and economics) in part by Kenneth Ewart Boulding and Buckminster Fuller.