43 10 703 https://www.polyarchives.hosting.nyu.edu/files/original/128702b653724db5945c811ad1ff6c8b.png e2ce966e7861e1f116a3910b1c68ab4d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Opening of Wunsch Building Creator An entity primarily responsible for making the resource N/A Source A related resource from which the described resource is derived Guide to the Poly Archives Historic Photograph Collection Date A point or period of time associated with an event in the lifecycle of the resource October 27, 1996 Format The file format, physical medium, or dimensions of the resource Photograph https://www.polyarchives.hosting.nyu.edu/files/original/efe8cf2f61c9a0cb8bbdf7acc85f0fd5.jpg ee7027fb2bb8ee87f88e45c16a4b360f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Operating Budget Results Creator An entity primarily responsible for making the resource NYU-Poly Board of Trustees Source A related resource from which the described resource is derived NYU-Poly Board of Trustees Meeting Report Date A point or period of time associated with an event in the lifecycle of the resource June 30th, 2013 Format The file format, physical medium, or dimensions of the resource Image https://www.polyarchives.hosting.nyu.edu/files/original/5a81c6a580c46439986fdf3055185b08.png bb8ff9be4ba542e40c77b762a5394c7a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource G & P images Description An account of the resource Photos Creator An entity primarily responsible for making the resource Ethan Source A related resource from which the described resource is derived Poly Archives Contributor An entity responsible for making contributions to the resource Ethan Rights Information about rights held in and over the resource Don't Steal please Relation A related resource For use with "Creative Chronicles" Exhibit Format The file format, physical medium, or dimensions of the resource Photos Language A language of the resource English Type The nature or genre of the resource JPG Identifier An unambiguous reference to the resource within a given context GOLANA Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document It isn't often that a new collegiate publication of major import is planned, created, and established. It has happened only three times before in the 109-year history of the Polytechnic Institute of Brooklyn–the long-established, most widely read, and best supported–the Reporter; and the comparative newcomers of the Engineer and Counterweight. Now there's a new one. Golana–though, as yet, still unborn, unspawned, unemerged from the womb of the creative minds of its literary parents, Gerald Robertson, Bruce Oberhardt, and others–is its name. The magazine is the official publication of the Poly Science Fiction Club. Stop. Stop completely. Now. At this point. Please do not read any further–if you cannot stomach science fiction in any form whatsoever; if you are convinced that science fiction is "what" Hollywood says it is, when it puts out those bare-bosomed, monster-filled $100,000 "quickie" epic films; if you group A Canticle For Leibowitz and Brave New World, along with Edgar Rice Burroughs' worst Tarzan books and the comic books. Why discuss science fiction at all with anyone who has an emotional conviction that it's all trash? The Average Man–be there such a mediocre specimen of humanity, such an example of non-logical, illogical conformity of Earth–thinks, not with his brain, but with his glands, and, if we are to believe "Madison Avenue," mostly with his gonads and genitals. You can't beat emotional convictions by using logic–not when even the most honorable of men considers it his most honorable duty to lie, cheat, steal, and murder for his emotional convictions. Neither money, position, ethics, or self-preservation, nor all combined together, can even counterbalance these forces. It matters not what labels you apply or what kind of men you deal with–be it Joe Mugg or Sonny Liston or Albert Einstein or President Kennedy. You can't beat these convictions with logic–only by fighting them with other emotional convictions and forces. Stop. Stop, again. This is where literature, and, more specifically, science fiction, comes in. Suppose you say to a man, "Everything I am about to hypothesize or say is a lie." Then you discuss–almost in the baldest terms possible–anything that might affect another's emotional equilibrium. Anything. Anything in the world–or, perhaps out of it. Incest? Surely. Segregation? Why not? The possible problems of a post-World War III era of 2450 A.D.? Of course, go right ahead. Such discussion–under the guise, we call, "stories,"–cannot affect another's emotional convictions. Why? Because everything you or an author might say or write about–you say yourself, just as a writer, under attack, might reply, "Why, didn't I say it was a lie to begin with? I said it was a lie! I told you it never really happened." How can an untruth affect anything–particularly since it is, manifestly, a self-admitted lie? The result is what we apply the label "fiction" to. James Baldwin's The Fire Next Time is such a piece of self-admitted lies-just was Harriet Beecher Stowe's Uncle Tom's Cabin. Or 1984… or Lady Chatterly's Lover… or It Can't Happen Here. This, then, is social criticism and social science fiction. This is the highest form of science fiction–and of literature in general. You treat possible futures from a contemporary frame of reference; you point out the possible fears and terrors and loves and thought patterns of a hundred years, a thousand years–or just six months hence. The science fiction writer chronicles possible futures in the present tense, outlined the consequences of today's actions to guide 1963's leaders–for, after all, isn't the future the only thing we have control over? The past is dead, the present already fixed and fading, even now, into the dead past–but the future, by definition, hasn't come yet. This, then, is the science fiction spectrum in brief. It is a spectrum of possible futures–with each "future" a story dealing with the effects on people of probable problems that will be created as Earth's technology expands to the stars–and beyond. It is also a spectrum of incredible pasts, presents, and other probability continuums–of exploding galaxies, of overwhelming catastrophes, of omnipotent villains, of superhuman heroes—and, then, of everyday people in a future not really different from our world of 1963. This is social science fiction. This is what Golana wants to publish. This is at the top of a literary spectrum that includes, at the bottom, the busty, weird costume ten-day Hollywood productions… and 1984 near the top. This is the spectrum to which we apply the labels, "Science fiction," "science fantasy," "fantasy,"–or, much more justifiably, assign the title, "Speculative fiction." Just what does this spectrum include? We have already mentioned the atrocious "quickies" from that L.A. suburb in the same breath as A Canticle For Leibowitz and Brave New World. Between them, they exemplify both the lowest form of adventure science fiction and the highest form of social science fiction. . . . And then there is a category called gadget science fiction, a kind of science fiction not reflected in the so-called "Mainstream" literature. You could find social criticism, not couched in terms of 2450 A.D., and adventure, not echoing with the screams of the heroine being pawed by a Thing from the 23rd Galaxy. But you cannot find "gadget" stories, without their being science fiction, "mainstream" or "fringe." This is science fiction–the couching of speculations by creative, extrapolative thinkers in the form of parables or stories. This is science fiction. Call it science fantasy, fantasy, or speculative fiction. This is what Golana will print. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Opinionscope: ‘Golana’ Creator An entity primarily responsible for making the resource Edward V. Dong Source A related resource from which the described resource is derived Polytechnic Reporter, Vol. 56, No. 3, Page 2 Date A point or period of time associated with an event in the lifecycle of the resource October 10, 1963 Format The file format, physical medium, or dimensions of the resource PNG https://www.polyarchives.hosting.nyu.edu/files/original/69538d77bc98b9f17ce501f446e7be8c.jpg 03b678640ef728782f9aef6d3f20f86c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource G & P images Description An account of the resource Photos Creator An entity primarily responsible for making the resource Ethan Source A related resource from which the described resource is derived Poly Archives Contributor An entity responsible for making contributions to the resource Ethan Rights Information about rights held in and over the resource Don't Steal please Relation A related resource For use with "Creative Chronicles" Exhibit Format The file format, physical medium, or dimensions of the resource Photos Language A language of the resource English Type The nature or genre of the resource JPG Identifier An unambiguous reference to the resource within a given context GOLANA Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document It isn't often that a new collegiate publication of major import is planned, created, and established. It has happened only three times before in the 109-year history of the Polytechnic Institute of Brooklyn–the long-established, most widely read, and best supported–the Reporter; and the comparative newcomers of the Engineer and Counterweight. Now there's a new one. Golana–though, as yet, still unborn, unspawned, unemerged from the womb of the creative minds of its literary parents, Gerald Robertson, Bruce Oberhardt, and others–is its name. The magazine is the official publication of the Poly Science Fiction Club. Stop. Stop completely. Now. At this point. Please do not read any further–if you cannot stomach science fiction in any form whatsoever; if you are convinced that science fiction is "what" Hollywood says it is, when it puts out those bare-bosomed, monster-filled $100,000 "quickie" epic films; if you group A Canticle For Leibowitz and Brave New World, along with Edgar Rice Burroughs' worst Tarzan books and the comic books. Why discuss science fiction at all with anyone who has an emotional conviction that it's all trash? The Average Man–be there such a mediocre specimen of humanity, such an example of non-logical, illogical conformity of Earth–thinks, not with his brain, but with his glands, and, if we are to believe "Madison Avenue," mostly with his gonads and genitals. You can't beat emotional convictions by using logic–not when even the most honorable of men considers it his most honorable duty to lie, cheat, steal, and murder for his emotional convictions. Neither money, position, ethics, or self-preservation, nor all combined together, can even counterbalance these forces. It matters not what labels you apply or what kind of men you deal with–be it Joe Mugg or Sonny Liston or Albert Einstein or President Kennedy. You can't beat these convictions with logic–only by fighting them with other emotional convictions and forces. Stop. Stop, again. This is where literature, and, more specifically, science fiction, comes in. Suppose you say to a man, "Everything I am about to hypothesize or say is a lie." Then you discuss–almost in the baldest terms possible–anything that might affect another's emotional equilibrium. Anything. Anything in the world–or, perhaps out of it. Incest? Surely. Segregation? Why not? The possible problems of a post-World War III era of 2450 A.D.? Of course, go right ahead. Such discussion–under the guise, we call, "stories,"–cannot affect another's emotional convictions. Why? Because everything you or an author might say or write about–you say yourself, just as a writer, under attack, might reply, "Why, didn't I say it was a lie to begin with? I said it was a lie! I told you it never really happened." How can an untruth affect anything–particularly since it is, manifestly, a self-admitted lie? The result is what we apply the label "fiction" to. James Baldwin's The Fire Next Time is such a piece of self-admitted lies-just was Harriet Beecher Stowe's Uncle Tom's Cabin. Or 1984… or Lady Chatterly's Lover… or It Can't Happen Here. This, then, is social criticism and social science fiction. This is the highest form of science fiction–and of literature in general. You treat possible futures from a contemporary frame of reference; you point out the possible fears and terrors and loves and thought patterns of a hundred years, a thousand years–or just six months hence. The science fiction writer chronicles possible futures in the present tense, outlined the consequences of today's actions to guide 1963's leaders–for, after all, isn't the future the only thing we have control over? The past is dead, the present already fixed and fading, even now, into the dead past–but the future, by definition, hasn't come yet. This, then, is the science fiction spectrum in brief. It is a spectrum of possible futures–with each "future" a story dealing with the effects on people of probable problems that will be created as Earth's technology expands to the stars–and beyond. It is also a spectrum of incredible pasts, presents, and other probability continuums–of exploding galaxies, of overwhelming catastrophes, of omnipotent villains, of superhuman heroes—and, then, of everyday people in a future not really different from our world of 1963. This is social science fiction. This is what Golana wants to publish. This is at the top of a literary spectrum that includes, at the bottom, the busty, weird costume ten-day Hollywood productions… and 1984 near the top. This is the spectrum to which we apply the labels, "Science fiction," "science fantasy," "fantasy,"–or, much more justifiably, assign the title, "Speculative fiction." Just what does this spectrum include? We have already mentioned the atrocious "quickies" from that L.A. suburb in the same breath as A Canticle For Leibowitz and Brave New World. Between them, they exemplify both the lowest form of adventure science fiction and the highest form of social science fiction. . . . And then there is a category called gadget science fiction, a kind of science fiction not reflected in the so-called "Mainstream" literature. You could find social criticism, not couched in terms of 2450 A.D., and adventure, not echoing with the screams of the heroine being pawed by a Thing from the 23rd Galaxy. But you cannot find "gadget" stories, without their being science fiction, "mainstream" or "fringe." This is science fiction–the couching of speculations by creative, extrapolative thinkers in the form of parables or stories. This is science fiction. Call it science fantasy, fantasy, or speculative fiction. This is what Golana will print. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Opinionscope: ‘Golana’ continued Creator An entity primarily responsible for making the resource Edward V. Dong Source A related resource from which the described resource is derived Polytechnic Reporter, Vol. 56, No. 3, Page 2 Date A point or period of time associated with an event in the lifecycle of the resource October 10, 1963 Format The file format, physical medium, or dimensions of the resource PNG https://www.polyarchives.hosting.nyu.edu/files/original/dbd03293683e34cd498dd4c1097b1ed2.mp4 6020448e3a1a2f67223f47851d86b68b https://www.polyarchives.hosting.nyu.edu/files/original/9d6fbf444c2bd2d704d40eb077d4473f.mp4 e1c3d8b99f614433029ca70e56429208 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview with Abdul Hafeez Muhammad Creator An entity primarily responsible for making the resource Abdul Hafeez Muhammad Source A related resource from which the described resource is derived Brooklyn Historical Society Publisher An entity responsible for making the resource available Brooklyn Historical Society Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Text and Audio https://www.polyarchives.hosting.nyu.edu/files/original/6d18b7566421a0d6a78b3efcb47dd770.png 3c23906fbd677a25b05b4b864c99feda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Origin History of AWME Church Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Brooklyn Poly Archives Date A point or period of time associated with an event in the lifecycle of the resource 1818 Format The file format, physical medium, or dimensions of the resource Book Volume https://www.polyarchives.hosting.nyu.edu/files/original/b9d0b1d1633e331a7e9ac7049cf70f84.jpeg cda9b9bb426d89e2ce9a3419b09e5cd4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Origin of i2e Subject The topic of the resource Origin of i2e Description An account of the resource Prof. Myles Jackson's talk on "Machines, Humans, and Aesthetics: the Mechanical, the Organic and the Creative Genius", spoke of the history leading up to NYU-Poly's hallmark logo: "Innovation, Invention, and Entrepreneurship (i2e)" Creator An entity primarily responsible for making the resource Garth R. Harding Source A related resource from which the described resource is derived The Polytechnic Reporter Publisher An entity responsible for making the resource available The Polytechnic Reporter Date A point or period of time associated with an event in the lifecycle of the resource March 11, 2009 Contributor An entity responsible for making contributions to the resource The Polytechnic Reporter Rights Information about rights held in and over the resource The Polytechnic Reporter Relation A related resource unknown Format The file format, physical medium, or dimensions of the resource physical newspaper Language A language of the resource English Type The nature or genre of the resource newspaper Identifier An unambiguous reference to the resource within a given context unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant unknown https://www.polyarchives.hosting.nyu.edu/files/original/39c2710712aade1ea41194119da47451.png 597bb0e931c385e824e82994f9813161 https://www.polyarchives.hosting.nyu.edu/files/original/82f908131c283880c92d535956bdb5bf.png 0ae4e1513f3f018a88b9f2b970efcae2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ORSA 1970 and Industrial Engineering curriculum Creator An entity primarily responsible for making the resource Polytechnic Institute of Brooklyn Source A related resource from which the described resource is derived Course Catalog 1970-71 Date A point or period of time associated with an event in the lifecycle of the resource 1970 Format The file format, physical medium, or dimensions of the resource physical text https://www.polyarchives.hosting.nyu.edu/files/original/1bf09853436cc4bc16d50ffb6f8ddb5d.png 53411c92f2ff945110bdcd1b0eacc45a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ORSA Master's Programs Course Requirements Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Graduate Curriculum and Standards Committee Date A point or period of time associated with an event in the lifecycle of the resource Unknown Format The file format, physical medium, or dimensions of the resource physical text https://www.polyarchives.hosting.nyu.edu/files/original/2746a2f6d61c9999b66f941f733ef7b7.jpeg 319c7a58adb6f58f1a343c24cf9a2ce0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Othmer Residence Creator An entity primarily responsible for making the resource Davis Brody Bond Source A related resource from which the described resource is derived https://www.davisbrodybond.com/polytechnic-university-of-nyu-jacobs-building-othmer-residence-hall Format The file format, physical medium, or dimensions of the resource JPEG