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1944 Götterdämmerung. Hitlerdeutschland liegt in Schutt und Asche. Zur Zeit der Abrechnung scheint der Fall der schwarzen Paten unausweichlich. Aber das Schwert der Göttin Justitia trifft nicht alle Räuber. Wer wird der unantastbare Pate? Der Kampf beginnt, unerbittlich, grausam, blutig, tödlich. Ein Name taucht jetzt öfters in den Ermittlungsakten auf. Und entflieht wie Aal und Wiesel, da niemand sich traut ihn wirklich auszusprechen. Und sich »Greif« zum Todfeind zu machen

1940 Pax Germanica, der »Germanische Frieden«, regiert in den von den Deutschen besetzten Gebieten. Michael Zacharoff und Joshua Assanian sind die Könige des Schwarzmarktes. Henri Lasserre ist der Boss der Unterwelt.Sie sind die Paten der neuen Ordnung, die schwarzen Paten. Gefürchtete, beneidete, allmächtige Männer. Ihr Schicksal ist eine griechische Tragödie: armselige Anfänge, Aufstieg an die absolute Macht, Hybris und fataler Fall. Die Wagner-Götterdämmerung beginnt.Dantes Nacht geht zu Ende. Wer von ihnen wird der unantastbare Pate?

When King’s Digital Lab was established in late 2015 it was conceived as both a craft factory (working with colleagues to produce digital outputs) and a technical experiment (a site where the intersection of technology and the humanities could be explored). Significant progress has been made on both of those fronts: dozens of projects have been enabled, operational white papers have been shared, and research outputs have explored the intellectual and philosophical aspects of the laboratory environment. It is now possible to move beyond the techniques that enabled this success and use insights from the philosophy of technology to explore long-standing concerns about the role of technology in society. In doing so, the laboratory would become an applied techno-philosophical experiment. More radically, it could rehabilitate the use of technical objects in the humanities and reject technophobia as not only unproductive but unethical. Technical (digital) objects could thus be accorded droit de cité in the field of the humanities. This perspective fits well with emerging work in the humanities that highlights the history of the field, its relationship to modelling, the indeterminacy of computer technology, and the potential for human-machine relations to be reconciled through aesthetics.

This book provides two basic concepts on plant propagation and value-added transplant production in a closed structure with artificial lighting: 1) photoautotrophic (sugar-free medium, photosynthetic or inorganic nutrition) micropropagation systems, and 2) closed transplant production systems with minimum resource consumption and environmental pollution. This book also describes the methodology, technology and practical techniques employed in both systems, which have been commercialized recently in some Asian countries such as China and Japan. We often use a closed structure such as a tissue culture vessel, a culture room, a growth chamber, a plant factory with lamps, and a greenhouse to propagate plants and produce transplants. Main reasons why we use such a closed structure is: 1) higher controllability of the environment for desired plant growth, 2) easier protection of plants from damage by harsh physical environment, pathogens, insects, animals, etc, 3) easier reduction in resource consumption for environmental control and protection, and 4) higher quality and productivity of plants at a lower cost, compared with the plant propagation and transplant production under rain, wind and sunlight shelters and in the open fields. Thus, there should be some knowledge, discipline, methodology, technology and problems to be solved on plant propagation and transplant production common to those closed structures, regardless of the types and sizes of the closed structure.