Promoting Activity, Independence, and Stability in Early Dementia and mild cognitive impairment (PrAISED): randomised controlled trial by Rowan Harwood, Sarah Goldberg, Andrew Brand, Veronika van Der Wardt, Vicky Booth, Claudio Di Lorito, Zoe Hoare, Jennie Hancox, Rupinder Bajwa, Clare Burgon, Louise Howe, Alison Cowley, Trevor Bramley, Annabelle Long, Juliette Lock, Rachael Tucker, Emma Adams, Rebecca O’Brien, Fiona Kearney, Katarzyna Kowalewska, Maureen Godfrey, Marianne Dunlop, Kehinde Junaid, Simon Thacker, Carol Duff, Tomas Welsh, Annette Haddon-Silver, John Gladman, Pip Logan, Kristian Pollock, Kavita Vedhara, Victoria Hood, Roshan Das Nair, Helen Smith, Rhiannon Tudor-Edwards, Ned Hartfiel, Victory Ezeofor, Robert Vickers, Martin Orrell, Tahir Masud

Get full text

Future technology in the ‘Star Trek’ reboots. Part I: tethered and performative technology by Carl Wilson, Garrath Wilson

“…Although this is certainly a factor, especially in the reboots - Star Trek (Abrams, 2009), Star Trek Into Darkness (Abrams, 2013), and Star Trek Beyond (Lin, 2016) - where Hollywood action plays a significant box-office role, Science Fiction, the genre at the heart of Star Trek, has been defined as “a contemporary mode in which the techniques of extrapolation and speculation are utilized in a narrative form, to construct near-future, far-future, or fantastic worlds in which science, technology, and society intersect” (Thacker, 2001, p.156). So, the inherent deeper appeal of the “new” within the Star Trek reboots is not, we would suggest, necessarily derived from a single-minded surface focus on sexy new alien races or new technology purely for the sake of spectacle (although we’re quite fond of these things too), but to borrow once more from Kirk’s classic monologue, if space is the “final frontier”, then the technology that facilitates this investigative endeavour is also by extension one of the central mechanisms by which we can learn new things about ourselves and our modern society.…”
Get full text