MAIS VALE A PRAXE DIALÉCTICA QUE A PRAXIS PARIPATÉTICA DA ESCOLA PERIPATÉTICA QUE NESTA MÉTRICA ANAXIMÉTRICA TEM O QUADRADO DA HIPOTENUSA CHEIO DE TUSA OU DE LUSA UMA COUSA ASSIS COMO UMA LOUSA DE ANATEXIAS PUERIS....É VIS A VIS QUEM PRECISA DE BÁCULO SÃO OS IMBECIS....

ora hiperligação permanente

30 Janeiro, 2014 00:59

PUERILMENTE TE TESTO
infantilmente te detesto
o fraco texto
UM BLOGUE PARA ESPANTALHOS E ZOMBIES À CAÇA DE MIOLEIRAS E ERZATS MARXISTAS
mercredi 29 janvier 2014
O PARADIGMA DO PROFESSOR OU PROFESSORAL- COMO MONTAR UM PROFESSOR SEM SER ACUSADO DE PRAXE ACADÉMICA E SEM SOBRAREM PEÇAS SOLTAS OU PELO MENOS QUE SOBREM PEQUENINAS PARA LHAS ENFIAREM NO ….NO….O TERMO ELUDE-ME OU ILUDE-ME?
SENDO UM PARADIGMA UM MODELO LÓGICO
E COM UM SISTEMA DE AXIOMAS ACOPLADO
O ESTADO QUER APARENTEMENTE O ESTADO É ANTROPOMÓRFICO E TEM VONTADES
TESTAR O PARADIGMA PROFESSORAL
E QUER FAZÊ-LO COMO….
COM UM TESTE QUE TUDO TESTE
ESTE TESTE QUE HÁ ANOS CLAMA
PASSAPORTE EDUCACIONAL FINAL
PASSA PORTAS MUY BANANAL
OU ANAL NO ESTADO EM CHAMA
QUEM TESTAIS?
ANIMAIS…
QUEM PRAXAIS?
UMAS BESTAS
BESTAS DAS MAIS BRUTAIS
BESTAS DAS MAIS LESTAS
BESTAS PROFISSIONAIS
QUE TESTAIS VÓS?
O CONHECIMENTO DOS AVÓS….
A ENCICLOPÉDIA
E OBVIAMENTE A MÉDIA
E O DESVIO PADRÃO
DA EDUCAÇÃO
O TESTE TEM SEMPRE RAZÃO
O TESTE É ORAÇÃO
O TESTE
POR MAIS QUE O DETESTE
É DELIRIUM SACRO PURO
O TESTE TESTA O MAIS DURO…
Publié par good churrasco ó auto de café…
Libellés : OURO MOLE QUE OS TOLOS FAZEM DURO, OURO TOLO QUE OS ÓXIDOS FAZEM ESCURO….QUAL É O NOME DO MINERAL ?, TESTO O TESTE EM OURO QUASE PURO

A LINGUAGEM POÉTICA É ASSAZ PATÉTICA TENHA SATANÁS SATANAZ SANTANA ANANÁS OU MESMO UM CARECA GORDO ET POLIGÂMICO COMO MESSIEUR FRANÇOIS DE RESTO EN RESTOS APODRECE A POESIA POLÍTICA QUE APOLITICAMENTE FENECE ....

É preciso DESenterrar SATANAZ
é preciso dizer a toda a gente
QUE DE FRENTE É O SENHOR FRANÇOIS
POIS ELE MENTE FRACAMENTE
que o Desejado já não pode vir A BERLIM
É preciso quebrar na ideia e na TENSÃO
a guitarra fantástica QUE DÁ TESÃO
QUE A POLÍTICA trouxe A MIM
ALEGRE digo que está morto.
Deixai em paz SATANAZ
ALEGRE AMIGO DO BOM PORTO
COMO O BOM SENHOR FRANÇOIS
deixai-o no desastre e na loucura.
QUE NO SOCIALISMO PASSA POR GÁGÁ TERNURA
temos SOARES aqui à mão
NÃO NECESSITAMOS DE XÉXÉ REPETIÇÃO
a terra da aventura.
NA MEMÓRIA PERDURA
É DA MEMÓRIA FUTURA
E PRETA É NA ALVURA
E QUEM VOS ATURA
DECERTO É CATURRA…
AH QUE BENZEDURA
MAIS BURRA…..
Vós que trazeis por dentro
ESSE PORTENTO
QUE POIA EM cada gesto
uma caGada humilhação
E NOS GASES DO RESTO
deixai falar na vossa voz a voz do vento
QUE É MUDA EM CADA MOVIMENTO
cantai em tom de grito e de protesto
ATESTAI O DEPÓSITO COMO O EGO ATESTO
matai dentro de vós SATANAZ
QUE É O CLONE DO SEIGNEUR FRNÇOIS
QUE A TODOS APRAZIA MAS JÁ NÃO APRAZ
POIS PADECE DE AFASIA
COMO JÁ PADECIA
O GAMA RAPAZ…..
Quem vai tocar a rebate QUEM É SINO OU QUEM É ASSASSINO?
os sinos de Portugal? NESTA POESIA BANAL ?
Poeta: é tempo de um punhal OU DUM ALBERTO CONTINENTAL?
por dentro da canção.HÁ UM SOARES EM BOTÃO?
Que é preciso bater na troika que nos bate NESTE MORTAL KOMBAT QUE A TOLA NOS ATOLA?
é preciso enterrar o senhor François.ELE É O O GENERAL SATANAZ O ANTI-CHRISTO QUE O APOCALIPSE NOS TRÁS E O APOCALIPSE VEM LÁ ATRAZ....OU ANTRAZ?

A PURBLIND OLIGARCHY THAT FLATLY REFUSED TO SEE THAT HISTORY WAS CONDEMNING IT TO THE DUSTBIN OF CIVILIZATIONS AND HORDAS DE MIGRANTES QUE SAQUEIAM OS SEDENTÁRIOS QUE AS CONSTROEM COMO CON'S É A VITÓRIA DOS POVOS DO MAR SOBRE OS EGÍPCIOS DO PASSADO TENSO PARA MEMÓRIA FUTURA DUM FUTURO APAGADO E MAL PASSADO OU EM SANGUE...

a purblind oligarchy that flatly refused to see that history was condemning it to the dustbin  - Griffin DOR....

with which they had to struggle not only in the society in which they found themselves, but within themselves....

 It is not a conflict of light and darkness we have to describe; 

it is the struggle of the purblind among the blind. 

We have to realize that for all that they were haunted by a vision of the civilized world of to-day, they still belonged not to our age but to their own. 

The thing imagined in their minds was something quite distinct from their present reality. 

Maxwell Brown has devoted several chapters, and a third great supplementary volume, to a special selection of early Modern State Prophets who followed public careers. 

He showed conclusively that in the third and fourth decades of the twentieth century there was a rapidly increasing number of men and women with a clear general conception of the possibilities of the modern world. 

He gives their written and spoken words, often astoundingly prescient and explicit. 

And then he traces out the tenor of their lives subsequent to these utterances. 

The discrepancy of belief and effort is a useful and indeed a startling reminder of the conditional nature of the individual life.

As he writes: "In the security and serenity of the study, these men and women could see plainly. In those hours of withdrawal, the fragile delicate brain matter could escape from immediacy, apprehended causation in four dimensions, reach forward to the permanent values of social events in the space-time framework. But even to the study there penetrated the rumble of the outer disorder. And directly the door was opened, forthwith the uproar of contemporary existence, the carnival, the riot, the war and the market, beat in triumphantly. 

The raging question of what had to be done that day, scattered the fine thought of our common destiny to the four winds of heaven."

Maxwell Brown adds a vivid illustration to this passage.

 It is the facsimile of the first draft by Peter Raut, the American progressive leader, of the Revolutionary Manifesto of 1937. 

It was indisputably a very inspiring document in its time and Raut gave the last proof of loyalty to the best in his mind, by a courageous martyrdom. 

But in the margin of this draft one's attention is caught by a maze of little figures; little sums in multiplication and addition. By his almost inspired gift for evidence and through the industry of his group of research assistants, Maxwell Brown has been able to demonstrate exactly what these sums were. They show that even while Raut, so far as his foresight permitted, was planning our new world, his thoughts were not wholly fixed on that end. They wandered. 

For a time the manifesto was neglected while he did these sums. He was gambling in industrial equities, and a large and active portion of his brain was considering whether the time had arrived to sell.

---

3. — THE ACCUMULATING DISPROPORTIONS
OF THE OLD ORDER

Let us consider some of the main appearances that disposed many minds to expect a world community in the early twentieth century. In the first place a very considerable financial unity had been achieved. 

The credit of the City of London ran to the ends of the earth and the gold sovereign was for all practical purposes a world coin, exchangeable locally for local expenditure within relatively slight fluctuations. 

Economic life was becoming very generalized. Over great areas trade moved with but small impediments, and the British still hoped to see their cosmopolitan conception of Free Trade accepted by the whole world. 

The International Institute of Agriculture in Rome was developing an annual census of staple production and reaching out towards a world control of commodity transport. 

Considerable movements and readjustments of population were going on, unimpeded by any government interference. 

Swarms of Russian Poles, for instance, drifted into Eastern Germany for the harvest work and returned; hundreds of thousands of Italians went to work in the United States for a few years and then came back with their earnings to their native villages. An ordinary traveller might go all over the more settled parts of the earth and never be asked for a passport unless he wanted to obtain a registered letter at a post office or otherwise prove his identity.

A number of minor but significant federal services had also come into existence and had a sound legal standing throughout the world, the Postal Union for example. Before 1914 C.E. a written document was delivered into the hands of the addressee at almost every point upon the planet, almost as surely as, if less swiftly than, it is to-day. (The Historical Documents Board has recently reprinted a small book, International Government, prepared for the little old Fabian Society during the Great War period by L. S. Woolf, which gives a summary of such arrangements. He lists twenty-three important world unions dealing at that time with trade, industry, finance, communications, health, science, art, literature, drugs, brothels, criminals, emigration and immigration and minor political affairs.) These world-wide cooperations seemed —more particularly to the English-speaking peoples—to presage a direct and comparatively smooth transition from the political patchwork of the nineteenth century, as the divisions of the patchwork grew insensibly fainter, to a stable confederation of mankind. The idea of a coming World-State was quite familiar at the time—one finds it, for instance, as early as Lord Tennyson's Locksley Hall (published in 1842); but there was no effort whatever to achieve it, and indeed no sense of the need of such effort. The World-State was expected to come about automatically by the inherent forces in things.

That belief in some underlying benevolence in uncontrolled events was a common error, one might almost say THE common error, of the time. It affected every school of thought. In exactly the same fashion the followers of Marx (before the invigorating advent of Lenin and the Bolshevist reconstruction of Communism) regarded their dream of world communism as inevitable, and the disciples of Herbert Spencer found a benevolent Providence in "free competition". "Trust Evolution", said the extreme Socialist and the extreme Individualist, as piously as the Christians put their trust in God. It was the Bolshevik movement in the twentieth century which put will into Communism. The thought of the nineteenth century revolutionary and reactionary alike was saturated with that confident irresponsible laziness. As Professor K. Chandra Sen has remarked, hope in the Victorian period was not a stimulant but an opiate.

We who live in a disciplined order, the chastened victors of a hard- fought battle, understand how superficial and unsubstantial were all those hopeful appearances. The great processes of mechanical invention, which have been described in our general account of the release of experimental science from deductive intellectualism, were increasing the power and range of every operating material force quite irrespective of its fitness or unfitness for the new occasions of mankind. With an equal impartiality they were bringing world-wide understanding and world-wide massacre into the range of human possibility.

It was through no fault of these inventors and investigators that the new opportunities they created were misused. That was outside their range. They had as yet no common culture of their own. Nor, since each worked in his own field, were they responsible for the fragmentary irregularity of their discoveries. Biological and especially social invention were lagging far behind the practical advances of the exacter, simpler sciences. Their application was more difficult; the matters they affected were so much more deeply embedded in ordinary use and wont, variation was more intimate, novelties could not be inserted with the same freedom. It was easy to supplant the coach and horses on the macadamized road by the steam-engine or the railway, because it was not necessary to do anything to the road or the coach and horses to bring about the change. They were just left alone to run themselves out as the railroad (and later the automobile on the rubber-glass track) superseded them. But men cannot set up new social institutions, new social and political and industrial relationships, side by side with the old in that fashion. It must be an altogether tougher and slower job. It is a question not of ousting but of reconstruction. The old must be converted into the new without ceasing for a moment to be a going concern. The over-running of the biologically old by the mechanically new, due to these differences in timing, was inevitable, and it reached its maximum in the twentieth century.

A pathological analogy may be useful here. In the past, before the correlation of development in living organisms began to be studied, people used to suffer helplessly and often very dreadfully from all sorts of irregularities of growth in their bodies. The medical services of the time, such as they were, were quite unable to control them. One of these, due to what is called the Nurmi ratios in the blood, was a great overproduction of bone, either locally or generally. The suffered gradually underwent distortion into a clumsy caricature of his former self; his features became coarse and massive, his skull bones underwent a monstrous expansion; the proportions of his limbs altered, and the leverage of his muscles went askew. He was made to look grotesque; he was crippled and at last killed. Something strictly parallel happened to human society in the hundred years before the Great War. Under the stimulus of mechanical invention and experimental physics it achieved, to pursue our metaphor, a hypertrophy of bone, muscle and stomach, without any corresponding enlargement of its nervous controls.

Long before the Great War this progressive disproportion had been dimly recognized by many observers. The favourite formula was to declare that "spiritual"—for the naïve primordial opposition of spirit and matter was still accepted in those days—had not kept pace with "material" advance. This was usually said with an air of moral superiority to the world at large. Mostly there was a vague implication that if these other people would only refrain from using modern inventions so briskly, or go to church more, or marry earlier and artlessly, or read a more "spiritual" type of literature, or refrain from mixed bathing, or work harder and accept lower wages, or be more respectful and obedient to constituted authority, all might yet be well. Beyond this sort of thing there was little recognition of the great and increasing disharmonies of the social corpus until after the Great War.

The young reader will ask, "But where was the Central Observation Bureau? Where was the professorial and student body which should have been recording these irregularities and producing plans for adjustment?"

There was no Central Observation Bureau. That did not exist for another century. That complex organization of discussion, calculation, criticism and forecast was undreamt of. Those cities of thought, full of serene activities, came into existence only after the organization of the Record and Library Network under the Air Dictatorship between 2010 and 2030. Even the mother thought-city, the World Encyclopaedia Establishment, was not founded until 2012. In the early twentieth century there was still no adequate estimate of economic forces and their social reactions. There were only a few score professors and amateurs of these fundamentally important studies scattered throughout the earth. They were scattered in every sense; even their communications were unsystematic. They had no powers of enquiry, no adequate statistics, little prestige; few people heeded what they thought or said.

Maybe they deserved nothing better. They bickered stupidly with and discredited each other. They ignored or wilfully misunderstood each other. It is impossible to read such social and economic literature as the period produced without realizing the extraordinary backwardness of that side of the world's intellectual life. It is difficult to believe nowadays that the writers of these publications, at once tediously copious and incredibly jejune, were living at the same time as the lively multitude of workers in the experimental sciences which were daily adding to and reshaping knowledge to achieve fresh practical triumphs. From 1812 C.E., when public gas-lighting was first organized, to the outbreak of the Great War, while the world was being made over anew by gas, by steam, by oil, and then by the swift headlong development of electrical science, while the last terrae incognitae were being explored and mapped, while a multitude of hitherto unthought-of elements and compounds and hundreds of thousands of new substances were coming into use, while epidemic diseases were being restrained and driven back, while the death rate was being halved, and the average duration of life increased by a score of years, the social and political sciences remained practically stagnant and unserviceable. Throughout that century of material achievement there is no single instance of the successful application of a social, economic or educational generalization.

Because of this belatedness of the social sciences, the progressive dislocation of the refined if socially limited and precarious civilization of the more advanced of the eighteenth and nineteenth century sovereign states went on without any effectual contemporary understanding of what was straining it to pieces.

 The Europeans and the Americans of the early twentieth century apprehended the social and political forces that ravaged their lives hardly more clearly than the citizens of the Roman Empire during its collapse. 

Plenty and the appearance of security HAPPENED; then débâcle HAPPENED. 

There was no analysis of operating causes. For years even quite bold and advanced thinkers were chased by events. They did not grasp what was occurring at the time. They only realized what had really occurred long afterwards. And so they never foresaw. There was no foresight, and therefore still less could there be any understanding control.

WORDS THAT TOOK US IN....CON'S R'US....MORONS R'THIS FANUM PEOPLE....JESUS HOMINUM SALVATOR - KAI TA LEIPOMENA He drew a circle that shut me out-- Heretic, a rebel, a thing to flout. But Love and I had the wit to win: We drew a circle that took him in....

QUANTUM VIS ?

QUANTUM SUFFICIT....

The Soaristan and Kavakisthan people
uses a circle to keep out all who don't think the same way they  do
 we need a circle to include this people and these state's
For the Soaristan and kavakisthan and sovietistan people , ideology or a belief system is most important; to the plebe....ignara plebe they believe at sunday's that  love the state is the solution....

CON SENSUS OR SENSUS FOR CON'S OR MORONS : morons moros and cons believe that you can go beyond all differences and bring morons con's and othelos together

Ihr Hotel Cid El Moro‎ Mit Tiefpreisgarantie billig buchen‎‎.....

SINE ANNO....

SECUNDUM ARTEM SCULPIT

CADEIAS DE LETRAS QUE FORMAM PALAVRAS PARVAS

SUB HOC VERBO SUB HAC VOCE

SINE MACULA PROLE PROLETA....

SECUNDUM NATURAM

TALIS QUALIS....

And till it come, we men are slaves,

And travel downward to the dust of graves.

Come, clear the way, then, clear the way;

Blind creeds and kings have had their day;

Break the dead branches from the path;

Out Hope is in the aftermath

Our hope is in heroic men

Star-led to build the world again.

Make way for brotherhood

make way for Man

O masters, lords and rulers in all lands,

How will the Future reckon with this man?

How answer his brute question in that hour

When whirlwinds of rebellion shake all shores?

How will it be with kingdoms and with kings

With those who shaped him to the thing he is

When this dumb terror shall rise to judge the world,

After the silence of the centuries?

outwitted by Edwin Markham

He drew a circle to shut me out,
heretic rebel, a thing to flout.
But love and I had the wit to win,
we drew a circle that took him in

 

The laws are the secret avengers,

And they rule above all lands;

They come on wool-soft sandals,

But they strike with iron hands.....DA FRACA CONSTITUIÇÃO DAS PALAVRAS FEITAS LEI.....

INSIDE - UNIVERSOS CONTRACENTRACIONÁRIOS MARXISTAS OU CONCENTRACIONÁRIOS CAPITALISTAS PARA O CASO TANTO FAZ- MUITO REACCIONÁRIOS ONDE MILIONÁRIOS AUTORITÁRIOS TÊM SERVAS DA GLEBA DE RESERVA- COMER SERVAS DA GLEBA E DAR PÃO A UM MILHÃO DE PORTUGUESES QUE AS PRODUZEM OU AS SEDUZEM SÃO PARA EXPORTAR LOGO TANTO FAZ....

NUM UNIVERSO SUPERPOVOADO PAR PAUVRES CON'S

UM MILIONÁRIO CONCENTRACIONÁRIO

REFUGIA-SE DUM APOCALIPSE QUE ANDA ATRASADO A PASSOS DE COELHO...

SE DUM ATAQUE ATÓMICO OU DUMA IMPLOSÃO MONETÁRIA TANTO FAZ

FUGINDO DESSE APOCALIPSE QUE NUNCA EXISTIU

UMA EXPERIÊNCIA AVANÇA DURANTE MESES OU ANOS

NUM SUPER-DOMO OU SUPER-DOMUS MARCIANO CHAMADO PORTUCALE

50 SERVOS E SERVAS DA GLEBA

PENSAM ESTAR NUMA GUERRA ECONÓMICA QUALQUER

CONDICIONADOS PSICOLOGICAMENTE

TRABALHAM QUE NEM ESCRAVOS PARA O SEU DONO

UM COMANDO DE RUSSOS PROGRAMADOS TENTA TOMAR O DOMO PORTUCALE

OU O DOMUS UCRANIA TANTO FAZ

OS MORTOS NESTE CONFLITO SÃO RECONSTRUIDOS E REVIFICADOS

COM NOVAS PERSONALIDADES OU FALTA DELAS

E VOLTAM AO COMBATE

POIS APESAR DE HAVER EXCESSO DE MÃO DE OBRA ESCRAVA

DEVE CUSTAR LEVÁ-LA ATÉ MARTE

MESMO OS CHINESES SÓ LEVAM ROBOT'S PRÁ LUA

OS SURVIVOR'S DESTA SÉRIE TELEVISIVA

DESCOBREM QUE SÃO OS SOBREVIVENTES DA IVª EXTERMINAÇÃO TOTAL

QUE NEM SEQUER FAZ JUZ AO NOME

A ATLÂNTIDA FOI OUTRA DAS OUTRAS 3 BANCARROTAS

E OS EXTRAS OU E.T.'S GUARDAM-NOS EM COLECÇÃO

ENQUANTO DESCONTAMINAM A TERRA

AGORA É SÓ POR ALEMÃES EM VEZ DE E.T'S

E SERVOS DA GLEBA EM VEZ DE MORON'S

E OBVIAMENTE FICA TUDO FINO

POCKET UNIVERSE'S A SAGA BY CARL SAGAN AND AUTRES SAGES UND SINGES À SUIVRE OU NON C'EST LA MÊME CHOSE SOARES DIXIT...

A term first used in a restricted sense by Murray Leinster in "Pocket Universes" (October 1946 Thrilling Wonder), where it is a "contrivance" rather than an encompassing world. It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf

A term first used in a restricted sense by Murray Leinster in "Pocket Universes" (October 1946 Thrilling Wonder), where it is a "contrivance" rather than an encompassing world. It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf

It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – always marks the transition from a pocket universe to a fuller and more real world. - See more at: http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf

It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – always marks the transition from a pocket universe to a fuller and more real world. - See more at: http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf

It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – always marks the transition from a pocket universe to a fuller and more real world. - See more at: http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf

WELL POCKET UNIVERSE IS A TERM USED BY MURRAY LEINSTER IN 1946

AND IS A SINGULAR TERM .....THE UNIVERSE IN A POCKET

THE UNIVERSE IN MINIATURE

LIKE THE MICROCOSMOS CONCEPT OF LYNN MARGULIS

IS A HOLISTIC APPROACH TO A ENHANCED CONCEPT OF COSMOS AND COSMOGONY


 Welcome to POCKET UNIVERSE, in which THe Manolo's Herédia's or man hole here Diaz.....eat the offspring of the work force like the Morlock's eat the elite, o escol improdutivo nos mundos de H.G.Wells

Ó MEU LORD NUM QUER DAR TRABALHO ÀS SERVAS DA GLEBA MENORES DE 16 ANOS QUE TENDES NAS LEIRAS?

É EXPORTÁ-LAS COM O OURO E AS PRATAS DAS CASAS DE VOSSA SENHORIA

It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a lORD OF CHAOS, or a power lord, a war lord in a post-apocaliptyc world like in Testament XXI, a bunker society isolated from the surface, or the H.G.Wells MARXISTIC or marxist MOrlocks that devour the good Gentry or Thw Manolo’s Herédias from the future tense….is a verb form that marks the event described by the verb as not having happened yet, but expected to happen in the future
Manolo Heredia HIPERtaliban em CRUZADA PERMANENTE a BEM DA CRUZ GAMADA à BOA GENTE DE BONS COSTUMES OU CURTUMES OU CHORMES TANTO FAX….
Marxistas são aqueles que vêm os países habitados de uma orda de empregados a quererem lixar os empresários em vez de veram uma data de empresários a quererem fazer o favor de dar emprego a quem não o tem…
a child lord like the children in LORD OF THE FLIES are in a POCKET UNIVERSE
, a prisoner of Zenda or in chateau d’IF or Riddick in a prisional colony, or a soldier in a war they are in Pocket Universes like the victim’s of demential ideologies that praise Tyranus rex…..

a chained watcher in Plato’s cave or in Socrates Portucale they like a resident of Hell or INFERNO von Jerry Pournelle or another Plutonic mythology or a Mayan or Incal one or Inca c’est presque la même chose ……
well like an inhabitant of the world inside Pantagruel’s mouth they don’t have the perception that Marxist’s and ouvriers and piolheira are human beings too……

they are too many i-dei-as and ideologies that regard the worker class as untermensch
or sub-human or shit and they are lucky enough to survive in an empresarial pocket universe full of Manolo’s Herédia’s the terratenientes the war god’s
the krupp….the FORD

GLORIA MUNDI VON FORD.DETROIT aBYSSUM

. It might also be suggested that the dynamic moment of escape from confinement OR MISERIA OR pauper city or gwetto or gueto or soweto or gwetho c’est la même chose – a leitmotiv of Western and Kappa oriented nipponic literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain’s The Adventures of Huckleberry Finn (1884), when Huck figures he “got to light out for the Territory ahead of the rest”, he is anticipating his “escape” from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.

Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer’s World of Tiers sequence

 

 or like the hidden redoubts that feature in so many Lost Race tales; or like the “natural” miniature universes observed in such works as Gregory Benford’s Cosm

 

or like the set-ups in almost any of Jack L Chalker’s series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl’s “The Tunnel Under the World” (January 1955 Galaxy) or Philip K Dick’s Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon’s “Microcosmic God” (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan’s “Crystal Nights” (April 2008 Interzone);

 

or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world  is set

But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer’s and Chalker’s protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct.

 In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.

The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth...like any society modern  or in the old good day's of Rome or Babel or Socratic with lot's of slaves and children for sex with entrepreneurs 

Business ideas and trends from the greek entrepreneur Magazine von socrates of Athenas.

 The latest news, expert advice, and growth strategies for small business owners without sex toys.....

 

it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty and avoid the Socratic intrusion's

 

The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein’s Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss’s Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison’s Captive Universe (1969); but Alexei Panshin’s Rite of Passage (July 1963 If as “Down to the Worlds of Men”; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe’s Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter’s Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).

All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye’s Dark Universe (1961), though Margaret St Clair’s Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper’s Kuldesak (1972), Roger Eldridge’s The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake’s Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
-

It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf

It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the rest", he is anticipating his "escape" from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf

THE POCKET UNIVERSE STORY TELL OR FAIRY TALES For MORON'S combines
 the ultimate in post-modern PROPAGANDA with the RTP's video illustrations to recreate the deepest levels of dreaming in a famished road society.....


THe Manolo's Heredia Pocket Universe is  a startling and subtle set-piece of sensational psycho-art  or art by the

psychopathic character structure

or art by the battered-child syndrome The authoritarian character structure of the LORD's of Entrepreneur Medieval States CONSCIENCE IN THE PSYCHOPATH----or in another path or phatos....

 Building on the drumbeat of ARBEIT MACHT FREI or in the actual regime or regímen THE MEEK IN MEEK PATH have  dreams for free.....PAUPERIZATION MACHT FREI VON MERCKEL
from last year's german companion von Eurogrouppen or Einsatzgruppen or Einzatten gruppen or gruppen führer or führer d' gruppen  or  gruppenführer de future führer's
EUROGRUPPEN RABID EYE, EUROPA  composes a single sweeping mindscape that carries the poop people or the poor people or the less than 99,99% of people  along hypnotically, unfolding through the vistas of the unconscious with all the magic and mystery of dreaming itself without euros or écus or dollars or thalers or bit coin's for pauvre con's or wathever buy bread and ale...or just ale....

Are art and life one?
Enter EUROPA's POCKET UNIVERSE and learn the simple truth YOU are just fucked up or down
 IT'S NOT WHERE EURO OR EUROPA IT'S GOING, IT'S WHERE EUROPA IT'S COMING FROM
MEDIEVAL WORLDS OF IF....AND ROBIN HOOD'S  WITHOUT MACHINE GUN'S....WELL EUROPA AND EUROcentric and excentric europeans dystopian's provides a beautifully written view of evolution as a process based on interdependency and the interconnectedness of all life on the planet....except europa of course or europe of corso nappoleone

.sem moças de servir a empresários para todo o serviço e vice-versa

gente de servir bom povo gente de servir a quem se serve….primeiro

Publicat per Para a Posteridade as sobras ….e as dívidas…

It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – always marks the transition from a pocket universe to a fuller and more real world. - See more at: http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf