Kamis, 31 Desember 2015

# PDF Download An Anthology of Graphic Fiction, Cartoons, and True Stories: Volume 2 (Anthology of Graphic Fiction, Cartoons, & True Stories)From Yale

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An Anthology of Graphic Fiction, Cartoons, and True Stories: Volume 2 (Anthology of Graphic Fiction, Cartoons, & True Stories)From Yale

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An Anthology of Graphic Fiction, Cartoons, and True Stories: Volume 2 (Anthology of Graphic Fiction, Cartoons, & True Stories)From Yale

Comic art is a vital, highly personal art form in which change—rapid and unpredictable—is the norm. In this exciting new anthology, comic artist Ivan Brunetti focuses on very recent works by contemporary artists engaged in this world of change. These outstanding cartoonists, selected by Brunetti for their graphic sophistication and literary style, are both expanding and transforming the vocabulary of their genre.

 

The book presents contemporary art comics produced by 75 artists, along with some classic comic strips and other related fine art and historical materials. Brunetti arranges the book to reflect the creative process itself, connecting stories and art to each other in surprising ways: nonlinear, elliptical, sometimes whimsical, even poetic. He emphasizes continuity from piece to piece, weaving themes and motifs throughout the volume.

 

As gorgeously produced as Brunetti’s previous anthology of graphic fiction, this book does full justice to the creative work of Art Spiegelman, Chris Ware, Charles Burns, Gary Panter, and the other prominent or emerging comic artists who are currently at work at the cutting edge of their medium.

  • Sales Rank: #982473 in Books
  • Published on: 2008-10-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x 1.50" w x 7.38" l, 2.96 pounds
  • Binding: Hardcover
  • 400 pages

From Publishers Weekly
Starred Review. Brunetti's second collection of his favorite cartoonists' work is even better than the first—more far-ranging, more personal and eccentric. Clearly a tour of one person's singular tastes, it's arranged in a stream-of-consciousness oh, and you have to see this one sort of way: work by 80-odd cartoonists, mostly from the past few decades, but also incorporating some early-1900s comic strips, a 1940s-vintage Fletcher Hanks story and several circa 1950 Harvey Kurtzman pieces as well as a smattering of previously unpublished gems. It's possible to quibble with some of Brunetti's aesthetic biases (or with his clustering most of the book's women cartoonists together in a block), but not with his selections. Nearly every piece is a killer, from big names like Chris Ware and Daniel Clowes as well as lesser-knowns like Laura Park and Matthew Thurber, and there's an enormous range of expressive styles and narrative approaches on display. The effect is something like Jerome Rothenberg's poetry anthologies: an investigation of unsettling, mind-opening places where only comics can travel. It's a pleasure to read straight through, and all but the most experienced art-comics enthusiasts are likely to discover a few new favorites. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
While Brunetti’s 2006 Anthology was a thoughtfully selected, impressively inclusive compilation of contemporary “art comics,” it didn’t purport to be the final word on the subject but left plenty of room for this volume, which overlaps its predecessor mostly by presenting second helpings of work by the usual suspects, such eminent veterans as R. Crumb, Art Spiegelman, Chris Ware, and the Hernandez brothers, who invariably—and rightfully—show up in such anthologies. The book’s greatest value lies in the less-well-known, younger talents on view, some of whom, like Kevin Huizenga, John Porcellino, and David Heatley, appeared in the earlier volume, while others—Megan Kelso, Renee French, Carrie Golus—did not. The only cavil to make is that this collection, like the first, ignores mainstream cartoonists other than a handful of pioneers who influenced the current generation. One such legend, MAD creator Harvey Kurtzman, receives affectionate tributes from Crumb and Spiegelman. Once again, the selection comes down to a matter of Brunetti’s tastes, which, fortunately, are well informed, eclectic, and occasionally cockeyed enough to shape an engaging, provocative, and valuable survey. --Gordon Flagg

Review
"This is the world of comics . . . at its liveliest."—Kirkus Reviews (starred review) (Kirkus Reviews 2008-07-01)

"An engaging, provocative, and valuable survey."—Booklist (Booklist 2008-09-15)

"One of the most stunning—and smartly assembled—anthologies I've ever seen."—Eric Reynolds, FLOG! The Fantagraphics Blog (Eric Reynolds FLOG! The Fantagraphics Blog 2008-09-02)

"Deeply engaged, personal, and unbelievably gorgeous. . . . The best anthology of its kind."—Jared Gardner, Gutter Geek (Jared Gardner Gutter Geek 2008-10-21)

“Invaluable [and] idiosyncratic . . . Brunetti includes under-the-radar surprises . . . and draws consistently fascinating connections between pieces.”—Cliff Froehlich, St. Louis Post-Dispatch (Cliff Foehlich St. Louis Post-Dispatch)

"Brunetti has a genius for sequencing. . . . Like almost any good comic, these anthologies flow."—Richard Gehr, The Village Voice (online) (Richard Gehr The Village Voice (online) 2008-10-22)

"Another far-reaching set of comics that range from the 1920s to 2008. As with the first book, the genius of this second Anthology is in its organization, which groups pieces not by year or subject, but by association. . . . A."—Onion A.V. Club (Onion A.V. Club 2008-11-07)

“Good grief, what a book this is—a hyperactive, periodically insane dive into the archaeology of alternative comics, the sort of book you long to present to people with no interest in the medium and watch as it removes the top of their heads and gives their brains a good stir. . . . Each page has something new, upsetting, wonderful on it, which makes it, along with the equally gigantic vol. 1, pretty much unbeatable.”—Independent on Sunday
(Independent on Sunday)

"If the Daniel Clowes cover intrigues you, and you want to a good introduction to the odder and more idiosyncratic side of comics today, there are few guides more knowledgeable than Brunetti, and few books more useful than his Anthologies."—Andrew Wheeler, ComicMix (Andrew Wheeler ComicMix 2008-12-16)

“Good grief, what a book this is—a hyperactive, periodically insane dive into the archaeology of alternative comics, the sort of book you long to present to people with no interest in the medium and watch as it removes the top of their heads and gives their brains a good stir.”—Independent on Sunday
(Independent on Sunday)

“I urge you to check out An Anthology of Graphic Fiction & True Stories (both volumes), edited by Brunetti and published by Yale University Press. They're certainly two of the best anthologies I've seen in recent years.”—Whitney Matheson, USA Today “Pop Candy” blog (Whitney Matheson, USA Today)

Most helpful customer reviews

6 of 8 people found the following review helpful.
Some Good and Some Not So Good
By David Swan
This is the second year in a row that Ivan Brunetti's `Anthology of Graphic Fiction, Cartoons & True Stories' has taken on `The Best American Comics'. Last year I gave the winning prize to Brunetti, although he does have a distinct advantage in that he doesn't limit himself to just a single year. So for 2008 which one is better? This year I'm declaring it a tie not because they were both so spectacular but because neither distinguished itself enough to win me over.

The whole cast of Alternative artists appear including R. Crumb, Harvey Pekar, Chris Ware, Seth, Kaz, Kevin Huizenga and dozens and dozens more. My litmus test for success in these anthologies is whether or not I discover a new artist intriguing enough that I purchase something else by them. The artist that most caught my eye this time was R. Sikoryak who did some brilliant parodies of 1950's Action Comic covers with an unpleasant character named `The Stranger' in place of Superman. I can't really do it justice trying to describe it. You have to see it to understand. Unfortunately it's only two pages long and I couldn't find any books devoted solely to Mr. Sikoryak who seems to only do compilations and covers for magazines like the New Yorker.

The comics in this collection run the entire gamut from the rough stick figures of Elinore Norflus and weird primitive drawing of Paper Rad (that look like they were done by a five year old) to the high school level art of Gary Painter, John Pocellino and Carlos Golus. On the other end of the spectrum is the frighteningly precise graphic design art of Chris Ware and the clean, profession lines of Jamie Hernandez. Anders Nilson gets the award for the most bizarre comics but in this case it's not really a compliment. Brian Chippendale gets the award for the most profane comic which is essentially raw porn and again this award is more dubious than distinguished. Seth's staid, dignified entry is the polar opposite and Chester Brown's comic is simply a straight out, but well done, explanation of schizophrenia.

I've enjoyed Jim Woodring in the past and this years entry is one of my favorites in what I assume is a story based on dreams he's had given the incredible surrealness of it. Joe Matt has a fascinating entry that skirts the edge of too much personal information. I'm not usually a fan of Jeffrey Brown but this one wasn't bad; maybe because he drew a lot of pictures of his busty girlfriend naked.

What really bothered me about this edition, and this is not a trivial complaint, is that a high percentage of comics will give the reader serious eye strain. I suspect that many of them were shrunken from their original size and they are literally painful to view. I actually skipped over entire sections because I could barely see them and my vision is quite good. I remember reading Quimby the Mouse by Chris Ware when it was presented in its original enormous size and it was difficult to read so imagine his works shrunk. And Ware is not the worst by a long shot. Chris Ware at least draws in clean bold colors but most of the artists in this collection work in black and white and when reduced in size the pages just look like a solid block of lines and tiny text. I really hope this is corrected for 2009 because it has reached the point of unacceptable.

The 2008 collection starts off strong with a great entry by Kaz but the middle of the book is filled with clunkers and forgettable pieces. Personally I thought the efforts by Norflus, Panter, Nilson and someone named C.F. should have remained in whatever high school or elementary school notebook they were created in. In the end the 2008 collection was an ok effort so I'll give it a generous 4 stars. If nothing else this book is so packed with stuff that even a hundred of so pages of sub par material still leaves 300 pages of good stuff.

3 of 6 people found the following review helpful.
If you've read Vol. 1, you've read Vol. 2
By apollinaire
I bought volume one. Then, I bought volume two and experienced such a nagging sense of deja vu that I was forced to give away my copy.

There are a few 'printed-elsewhere' gems in here by the usual suspects (Clowes, Crumb, Ware, Sacco, Burns...), but you've got to put up with a bunch of visual noise to get to them.

0 of 0 people found the following review helpful.
Great collection of comix imo
By A Book Is A Wonderous Thing
Really works as an anthology, several interesting stories and styles here (unlike some anthologies out there which seem like mere hodge-podges)

See all 7 customer reviews...

An Anthology of Graphic Fiction, Cartoons, and True Stories: Volume 2 (Anthology of Graphic Fiction, Cartoons, & True Stories)From Yale PDF
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Selasa, 29 Desember 2015

~~ Ebook Download My Dear Governess: The Letters of Edith Wharton to Anna BahlmannFrom Yale University Press

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My Dear Governess: The Letters of Edith Wharton to Anna BahlmannFrom Yale University Press

An exciting archive came to auction in 2009: the papers and personal effects of Anna Catherine Bahlmann (1849–1916), a governess and companion to several prominent American families. Among the collection were one hundred thirty-five letters from her most famous pupil, Edith Newbold Jones, later the great American novelist Edith Wharton. Remarkably, until now, just three letters from Wharton’s childhood and early adulthood were thought to survive. Bahlmann, who would become Wharton’s literary secretary and confidante, emerges in the letters as a seminal influence, closely guiding her precocious young student’s readings, translations, and personal writing. Taken together, these letters, written over the course of forty-two years, provide a deeply affecting portrait of mutual loyalty and influence between two women from different social classes.

This correspondence reveals Wharton’s maturing sensibility and vocation, and includes details of her life that will challenge long-held assumptions about her formative years. Wharton scholar Irene Goldman-Price provides a rich introduction to My Dear Governess that restores Bahlmann to her central place in Wharton’s life.

  • Sales Rank: #1558949 in Books
  • Published on: 2012-06-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.13" w x 6.13" l, 1.40 pounds
  • Binding: Hardcover
  • 336 pages

Review
“Making these previously unknown letters available would in itself be a valuable service, but Goldman-Price has gone far beyond that in her general introduction, introductions to each letter, and notes. The letters in this book will change the way in which we read Wharton’s early life and intellectual development.”—Donna Campbell, Washington State University (Donna Campbell)

"One of the most astonishing instances of literary eavesdropping in the history of American letters. A moving and illuminating revelation."—Alberto Manguel (Alberto Manguel)

“This skillfully edited collection sheds new light on Wharton’s childhood and early career and provides important insights into her artistic and emotional life. Goldman-Price’s lucid introduction and commentary situate the letters in a compelling biographical narrative that introduces us to the little-known Bahlmann and encourages us to reassess our understanding of Wharton’s approach to personal relationships and class differences.”—Gary Totten, President, Edith Wharton Society (Gary Totten)

“This extraordinary collection reveals a young Wharton with a voracious intellectual appetite, and a woman, who, throughout her life, is by turns cheeky, exuberant, adventurous, and compassionate. Wharton’s lifelong relationship with Bahlmann is as intricate as the lives of Wharton’s finest fictional characters, and Goldman-Price’s illuminating commentary masterfully weaves the backdrop against which this remarkable friendship unfolds.”—Susan Wissler, executive director of The Mount, Edith Wharton’s Estate and Gardens (Susan Wissler)

"The 135 letters in this volume. . . are especially valuable because they represent a period for which little primary Wharton documentation is known to exist. . . Essential for Wharton scholars as well as informed general readers interested in Wharton or her literary and social circles."—Library Journal (Library Journal)

"Goldman-Price's wide knowledge of Wharton's life is revealed in her nuanced, trenchant narrative. . . The early letters. . .have a wonderful freshness, as we see an eager, confident Edith revealing an abundance of literary and personal details. . . One of the most fascinating aspects of My Dear Governess is that although there are no letters from Bahlmann, she comes alive . . . It is all interesting, a terrific addition to Wharton scholarship."—Roberta Silman, Boston Globe (Roberta Silman Boston Globe)

"…a valuable addition for scholars and completists…"—Sarah Churchwell, The New Statesman (Sarah Churchwell The New Statesman 2012-06-25)

"The letters provide penetrating insights into the Pulitzer Prize-winning novelist who chronicled old New York and developed a close friendship with another aristocratic Gotham native, Henry James."—Sam Roberts, New York Times (Sam Roberts New York Times)

"From cover to cover, the book is a pleasure for those interested in literature, visual art, travel, dogs, female friendship, and life as it was lived from the Gilded Age through the Great War. For scholars of Wharton, this is a must-read, as the letters reveal a new—in many cases tender, affectionate, vulnerable, hopeful—side of Wharton and challenge previously held conceptions of the writer and her biography."—Emily Orlando, American Book Review (Emily Orlando American Book Review)

"Eloquently introduced and meticulously annotated by Goldman-Price, this book is a gem on many levels. Offering insight into the formation of the artist and the adolescent female mind, in particular, it is trove not only for fans and scholars of Edith Wharton but also for anyone interested in childhood and gender studies, and the shaping forces of class and age."—Carol J. Singley, Women's Review of Books (Carol J. Singley Women's Review of Book)

“In, My Dear Governess, Irene Goldman-Price produces a volume rich in insight into Wharton’s career and its social and biographical contexts.” —Melanie Dawson, College of William and Mary (Melanie Dawson)

About the Author

Irene Goldman-Price has taught literature and women's studies at Ball State University and Penn State University. She serves on the editorial board of the Edith Wharton Review and has consulted and taught at The Mount, Edith Wharton's house museum in Massachusetts. In 2010–2011 she was a visiting fellow at Yale University's Beinecke Rare Book and Manuscript Library, where the Wharton letters are held.

Most helpful customer reviews

10 of 10 people found the following review helpful.
Brilliant scholarship, an absolute delight!
By J. E. Fields
For Edith Wharton fans, this book will be a wonderful revelation into the mind and heart of a very young Edith Wharton, and a tender, thoughtful older one. Wharton's close relationship with her governess, then literary secretary is an insight into her voracious curiosity and love of literature. The letters Edith wrote to her "Tonni" show a vulnerable side to Wharton few know. Goldman-Price's frequent notes and comments are prodigiously researched and so finely written, we could not have found a better guide. This book is a must for anyone who appreciates Wharton.

5 of 5 people found the following review helpful.
Tender, readable letters...thoughtfully annotated
By Connie Nordhielm Wooldridge
On May 31st, 1874, twelve-year-old Edith Wharton (then Edith Jones) wrote to her beloved twenty-five-year-old governess, Anna Bahlmann, inviting her to come to the Jones' summer home in Newport, Rhode Island: "...we shall have a room ready for you and be very, very glad indeed to see you." It was the first of 135 letters, tenderly written over forty-two years, and unknown to Wharton scholars until they surfaced at auction in 2009. Their publication provides a rare, unguarded picture of young Edith and corrects several misconceptions, most notably the negative picture of her mother that Edith herself painted in her published and unpublished autobiographies. Equally as interesting is the editor's research on Anna Bahlmann, which brings the proud but self-effacing governess out of the shadows. The letters themselves are infinitely readable and profuse annotations make them accessible to those unfamiliar with Wharton's life.

3 of 3 people found the following review helpful.
My Dear Governess: The Letters of Edith Wharton to Anna Bahlmann - Irene Goldman
By Gary James
If you are a fan of Edith Wharton and her writings, this is a must read. Through Wharton's letters to her former governess, sometime secretary and life long friend, Anna Bahlmann, you will view the breadth of Wharton's interests - Europeon history, architecture, poetry - and a life style that included frequent travels throughout Europe. Wharton, of course, was fluent in both German and French languages.

The author adds commentary outside the letters to reveal more of Wharton's life - her unsatisfactory marriage, her friendship with contemporary writers such as Henry James, and her charitable works in France during the horrors of World War I. The book tells much of the life of this amazing woman, born of a period when women of her class were expected to do little more than marry well. Wharton's descritptive powers are on full view through her many letters. A book worth reading.

See all 4 customer reviews...

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Kamis, 24 Desember 2015

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Vermeer's Women: Secrets and Silence, by Marjorie E. Wieseman, Wayne Franits, H. Perry Chapman

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Vermeer's Women: Secrets and Silence, by Marjorie E. Wieseman, Wayne Franits, H. Perry Chapman

Focusing on the extraordinary Lacemaker from the Musée du Louvre, this beautiful book investigates the subtle and enigmatic paintings by Johannes Vermeer that celebrate the intimacy of the Dutch household. Moments frozen in paint that reveal young women sewing, reading or playing musical instruments, captured in Vermeer's uniquely luminous style, recreate a silent and often mysterious domestic realm, closed to the outside world, and inhabited almost exclusively by women and children. 

Three internationally recognized experts in the field explain why women engaged in mundane domestic tasks, or in pleasurable pastimes such as music making, writing letters, or adjusting their toilette, comprise some of the most popular Dutch paintings of the seventeenth century. Among the most intriguing of these compositions are those that consciously avoid any engagement with the viewer. Rather than acknowledging our presence, figures avert their gazes or turn their backs upon us; they stare moodily into space or focus intently on the activities at hand. In viewing these paintings, we have the impression that we have stumbled upon a private world kept hidden from casual regard. 

The ravishingly beautiful paintings of Vermeer are perhaps the most poetic evocations of this secretive world, but other Dutch painters sought to imbue simple domestic scenes with an air of silent mystery, and the book also features works by some of the most important masters of 17th-century Dutch genre painting, among them Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolaes Maes, and Jan Steen.

  • Sales Rank: #1652458 in Books
  • Published on: 2011-12-28
  • Original language: English
  • Number of items: 1
  • Dimensions: .86" h x 8.59" w x 10.54" l, 2.63 pounds
  • Binding: Hardcover
  • 224 pages

About the Author
Marjorie E. Wieseman is curator of Dutch paintings 1600–1800 at the National Gallery, London. Wayne E. Franits is professor and chair of the Department of Fine Arts, Syracuse University. H. Perry Chapman is professor of art history at the University of Delaware.

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20 of 20 people found the following review helpful.
Marjorie E. Wieseman, "Vermeer's Women: Secrets and Silence"
By Kenneth Hughes
This book is the catalogue that accompanied the exhibition of the same name held at the Fitzwilliam Museum in Cambridge, England, from October 2011 to January 2012. Johannes Vermeer's celebrated canvas "The Lacemaker" (ca. 1670) was lent by the Louvre in an exchange of paintings, and the Fitzwilliam decided to construct a whole exhibition around it. They managed to get Marjorie Wieseman, Curator of Dutch Paintings at the National Gallery in London, to guest-curate the show and edit the catalogue. What is meant by "Secrets and Silence" is immediately apparent to anyone even fleetingly familiar with Vermeer's paintings and those of many of his colleagues. There are so many women in these works, and they seem almost universally enigmatic: What is she doing? To whom and what is she writing? What can possibly be in the letter she's reading? What is she thinking, what is she feeling, what is she hiding? And, above all, why is she hiding herself from us, refusing even to acknowledge our presence? Why so secretive, so silent, so self-absorbed? (Indeed, a great many of these paintings are excellent exemplars of that specific kind of painterly "absorption" that Michael Fried analyzed so fruitfully in the French painting of the following century.) Depictions of women reading, writing, making music, or engaged in some entertaining pastime or light household duty within an orderly, prosperous, and elegantly appointed domestic space are such a familiar sub-genre of the thousands of Dutch genre paintings produced in the second half of the 16th century that we must wonder that, as is stated in the "Director's Foreword," they had never before been made the specific focus of an exhibition.

The volume itself consists of three essays and an annotated catalogue of the thirty-two works exhibited. Dr. Wieseman's introductory essay discusses the ways in which the paintings are deliberate artistic productions using everyday realities as points of departure but in no way bound by them; the artistic project is to manipulate and reinterpret the physical appearance of a typical upper-class Dutch home so as to maximize visual interest and enhance sensory experience--but without leaving the realm of reality. There is much fascinating information here on the discrepancy between the actual interiors, for example, and their conventionalized appearance in the works. You know those "typical" marble-tiled floors? Very common in the paintings (where they function beautifully as perspectival devices), but very rare in the houses. And the nice, evenly lighted interior spaces? No; these were row houses with windows only at front and back and maybe--if large enough--on an interior courtyard. Therefore the need for all the beautiful chandeliers? Sorry; very uncommon--etc. In "Inside Vermeer's Women," H. Perry Chapman, Professor of Art History at the University of Delaware and the author of books on Rembrandt and Jan Steen as well as on Vermeer, views these scenes of domestic interiors as a metaphor for a kind of "interiority" that includes women; she analyzes how Vermeer constructed the homes and put the women inside them. They are highly idealized spaces, appropriate environments for the female self-hood the women represent and for the self-conscious exercise of authority over the entire domestic domain. Prof. Wayne Franits of Syracuse Unversity, who has written many books on 17th-century Dutch and Flemish art presents here "Living in the Lap of Luxury: Vermeer, his Admirers and his Patrons," in which he makes clear how very successful and admired Vermeer was and how eagerly his paintings were sought after by wealthy collectors. One couple in Delft based their extensive art collection on twenty one paintings by Vermeer and may have had something like the right of first refusal to purchase his works. The wealth of such patrons seems to have persuaded Vermeer to concentrate, after "The Milkmaid" of 1657/58 , on ever more elegant figures in ever more sumptuous surroundings, as wealthy people wanted pictures that would reflect their own social standing and purchasing power. Franits points out, for example, that the clavichords and virginals that are played by so many young women in the paintings were in fact prohibitively expensive and could be bought only by the very wealthy. And they were willing to pay dearly for art, too; at a time when the average painting cost fifteen to thirty guilders, Vermeer and some other painters at the high end of the market regularly commanded up to a thousand guilders, i.e., twice the average annual middle-class salary, and enough to purchase a modest house: in many cases, it was not only the patrons who were living in luxury.

The book itself is beautifully produced. The thirty two catalogue entries are reproduced full-page and faced with a full-page commentary and a detail from the canvas. In addition, there are some ninety reference plates within the essay section, at least thirty of them also full-page and many others approaching that. Much of the discussion in the texts is illustrated with details from the plates or catalog entries, which greatly facilitates comparison and relieves the reader of a lot of page-flipping. The reproductions themselves are magnificent: clear and crisp and in excellent color. No one interested in Vermeer or any of his colleagues in this period of Dutch painting will want to be without this fascinating and superbly produced book.

0 of 1 people found the following review helpful.
Vermeer is so neat .
By oldtora
Vermeer is the highest , way the highest .

1 of 13 people found the following review helpful.
Excellent!
By E. Donaldson
I saw this exhibition at the Fitzwilliam Museum in Cambridge, England, November 2011. "The Lace Maker" was not at the Louvre when I was there in early November; it was in Cambridge. I'm so happy to have seen it in person!

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Senin, 21 Desember 2015

!! Free PDF Second Nature: Brain Science and Human Knowledge, by Gerald M. Edelman

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Second Nature: Brain Science and Human Knowledge, by Gerald M. Edelman

Second Nature: Brain Science and Human Knowledge, by Gerald M. Edelman



Second Nature: Brain Science and Human Knowledge, by Gerald M. Edelman

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Second Nature: Brain Science and Human Knowledge, by Gerald M. Edelman

Burgeoning advancements in brain science are opening up new perspectives on how we acquire knowledge. Indeed, it is now possible to explore consciousness—the very center of human concern—by scientific means. In this illuminating book, Dr. Gerald M. Edelman offers a new theory of knowledge based on striking scientific findings about how the brain works. And he addresses the related compelling question: Does the latest research imply that all knowledge can be reduced to scientific description?
Edelman’s brain-based approach to knowledge has rich implications for our understanding of creativity, of the normal and abnormal functioning of the brain, and of the connections among the different ways we have of knowing. While the gulf between science and the humanities and their respective views of the world has seemed enormous in the past, the author shows that their differences can be dissolved by considering their origins in brain functions. He foresees a day when brain-based devices will be conscious, and he reflects on this and other fascinating ideas about how we come to know the world and ourselves.

  • Sales Rank: #839796 in Books
  • Published on: 2006-10-24
  • Original language: English
  • Number of items: 1
  • Dimensions: .81" h x 5.78" w x 7.22" l, .75 pounds
  • Binding: Hardcover
  • 203 pages

Review
"Until this provocative book, I thought that Gerald Edelman was merely one of our greatest and most original thinkers in neuroscience. But now having read such a remarkable disquisition on the relationship between brain physiology, consciousness and knowledge as he presents here, I have become certain of something about which I had previously only wondered: he is also one of our greatest philosophers."—Sherwin Nuland, Yale University; author of How We Die (Sherwin Nuland)

"Edelman's Second Nature offers the mature synthesis of his reflections on brain and mind. Somehow, it is both intellectually satisfying and wise."—Antonio Damasio, author of Descartes' Error and Looking for Spinoza

(Antonio Damasio)

"A remarkable contribution to the philosophy of the mind, Edelman's Second Nature breaks new ground to an age-old problem by launching brain-based epistemology. Original, lucid, concise, succinct: easily the best in the field."—Apostolos P. Georgopoulos, Regents Professor, University of Minnesota


(Apostolos P. Georgopoulos)

“Dr. Edelman has done something unique in this book. He deals both with the important epistemological issues and the mechanisms in the brain that give rise to them.”—Avrum Stroll, University of California, San Diego

(Avrum Stroll)

“In the tradition of John von Neumann’s The Computer and the Brain and Erwin Schrödinger’s What Is Life? Gerald Edelman summarizes his seminal contributions to our understanding of the human brain and the human mind. The reader is drawn into a conversation with a master, who is at once witty and wise.”—Howard Gardner, author of Changing Minds
 
(Howard Gardner)

"It was William James's dream that physiology, psychology and philosophy be joined into a single discipline, and in Second Nature, the latest volume in Gerald M. Edelman's seminal series of books on Neural Darwinism, this dream of a brain-based epistemology is brought closer than ever to realization. For anyone who is interested in human consciousness, this is required reading. "—Oliver Sacks, author of The Man Who Mistook His Wife for a Hat



(Oliver Sacks)

From the Author
A conversation with Dr. Gerald M. Edelman
 
 
Q:  Is there a single message in Second Nature you want to convey?
 
A:  We are about to understand how consciousness arises in the workings of the brain. I argue that while the scientific picture of the world describes the bases for all phenomena including consciousness, there remain arenas, such as ethics and aesthetics, which cannot be fully described by a scientific approach.
 
 
Q:  What are the most significant advances in brain science that you address in this book?
 
A:  We now understand that the brain is not organized like a computer. A better image is provided by considering it to be a biological system whose form and activity involve pattern recognition rather than logic. This implies that each person’s brain is unique in the history of the universe.
 
 
Q:  Will we ever understand how consciousness arises as a result of brain action?
 
Yes, we will. We are on the brink of understanding how consciousness arises as a result of myriad mutual interactions of nerve cells distributed in our cerebral cortex. Integration of these interactions allows us to make enormous numbers of distinctions that are the hallmark of consciousness. Indeed, someday we may be able to make a conscious artifact.
 
A:  Will knowledge and how we acquire it be reduced completely to a scientific description?
 
No. This is a major point of the book. For example, each brain has a developmental and evolutionary history that is largely irreversible and uniquely individual. Furthermore, creative thought, scientific and otherwise, starts with ambiguity, and only in some instances can it proceed to scientific clarity.
 

About the Author
Gerald M. Edelman, M.D., Ph.D., is director, The Neurosciences Institute; president, Neurosciences Research Foundation; and chairman, Department of Neurobiology, The Scripps Research Institute. He has received many honors and awards, including the Nobel Prize for Physiology or Medicine. He lives in La Jolla, CA.

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67 of 72 people found the following review helpful.
Reconciling brain science and human concern: a timely addition to one of the most distinguished bodies of work in neuroscience
By L. Guzman
Will knowing how the brain works--in particular, what consciousness is--transform our view of human knowledge itself? This is the question that looms large in Second Nature, Gerald Edelman's latest book. Though compact at 157 pages (excluding preface, footnotes, and index), this work represents Edelman's ambitious consideration of the implications of his view (likely the correct view) of the brain and mind for the broader world of human concern. Edelman seeks to understand the nature of knowledge as it is generated within a biological entity--the brain--that is shaped both by individual history and evolutionary forces. Astonishingly, in this little book, he succeeds in this quest marvelously. The result is no less than a new type of epistemology--what Edelman refers to as "brain-based epistemology."

Gerald Edelman is no mere dilettante or interloper in neuroscience. Since the publication of The Mindful Brain (a volume he co-edited and co-authored with Vernon Mountcastle) nearly thirty years ago, Edelman has diligently toiled in the theoretical vineyards to construct a comprehensive theory of higher brain function that is consistent with the latest available neuroanatomical, neurophysiological, and behavioral data. Perhaps the most significant fruit of these labors, the Theory of Neuronal Group Selection, or Neural Darwinism, proposes that, during neurogenesis, a vast "primary repertoire" of physically connected populations of neurons arises. Later, in a process akin to Darwinian selection, a "secondary repertoire" of functionally defined neuronal groups emerges as the animal experiences its world, and that world in turn selects patterns of connectivity (the so-called neuronal groups) that provide a good enough fit in a given moment to engender some kind of positive outcome. Underlying this selection is a neural "value system," established over the course of evolution and believed to comprise small populations of neurons within deep brain structures, that assigns salience to particular stimuli encountered by the animal. When the response to a given stimulus leads to a positive outcome (i.e., eating satisfies hunger), the value system will reinforce, or strengthen, those synaptic connections between neurons that happened to be firing at that particular moment. There is now a greater likelihood that, when the animal encounters similar stimuli in the future, many of the same neurons that fired the first time will fire together again. When a stimulus is noxious, the value system will similarly strengthen the connections between neurons that happened to be firing at the time the stimulus was encountered, thus increasing the salience of that stimulus. When a stimulus has no salience, synaptic connections between neurons that fired upon first exposure to that stimulus will become weaker with successive exposures. Simply stated, neurons that fire together wire together. Keep in mind that the mapping of the world to neural substrate is degenerate; that is, no two neuronal groups or maps are the same, either structurally or functionally. Nor are the populations of neuronal groups that make up the neural mappings of the world exactly the same each time similar stimuli are encountered. These maps are dynamic, and their borders shift with experience. And finally, since each individual has a unique (and privileged) history, no two individuals will express the same neural mappings of the world. Indeed, from the establishment of the primary repertoire during development, no two brains are wired in exactly the same way, not even those of identical twins.

Notwithstanding any of the various attempts at historical revisionism that you may have encountered if you've read broadly across neuroscience and the philosophy of mind, the selectionist view of the nervous system begins with Edelman's highly original work. What follows from others making selectionist arguments is (whether they like it or not) purely derivative.

Although Edelman's theoretical framework has expanded to include the Dynamic Core hypothesis, a proposed mechanism for consciousness (See Edelman and Tononi's A Universe of Consciousness) that he discusses throughout Second Nature (and I will not unpack here), I believe that Neural Darwinism is his most fundamental contribution to modern neuroscience. To this day, it remains the most detailed and comprehensive theory of higher brain function ever proposed. Perhaps most importantly, and likely to the great consternation of those critics capable of lobbing only ad hominem attacks at Edelman himself, the theory is, in the best traditions of empirically grounded science, eminently testable. I have laid out a brief (and wholly inadequate) sketch of Neural Darwinism here because many of the critiques of Edelman's work are colored either by misapprehensions about this theory or the unrealistic expectation that its underlying mechanism can and should be easily described and readily digested. But unless you can appreciate the vast complexity of a biology shaped by evolutionary principles that are not well understood by the lay public (or even some scientists, for that matter), you will probably struggle to understand much of what Edelman has to say, even in this little book. The fault lies not in Edelman's prose, but rather in the nature of the subject matter he seeks to describe (contrary to the complaints of a few critics--see below). Persevere; if you love biology, are fascinated by the mysteries of the brain, and are curious about the implications of modern brain science for the nature of human knowledge and endeavors, then this book should be your touchstone.

I'm not going to give you a detailed rundown of the contents of Second Nature here; I'll simply recommend that you read it. In the remaining paragraphs, I hope to provide you with something I think will be of even greater value: a discussion of some of the most commonly raised criticisms of Edelman and his work. I hope that this will allow you to read the book--if not totally free of misconceptions--at least less encumbered by what I believe to be unfair attacks on one of the most constructive and distinguished bodies of work in modern theoretical neuroscience.

It is curious that Edelman's work engenders as much vitriolic reaction as it does. If you've read my review up to this point, you've certainly concluded that I'm firmly in Edelman's camp. That said, what follows are the most common claims about Edelman and his ideas from his most vocal critics. These can be clearly stated and quite easily dispensed with. In no particular order, here they are:

1) There is nothing original in his ideas.

2) Natural selection is not an apt analogy for what the brain does.

3) His models are instantiated on computers even though he claims that the brain is not a computer (look up the review by George Johnson).

4) He doesn't understand, or mischaracterizes, the views of modern philosophers.

5) He denigrates philosophers and their work.

6) He omits the work of others.

7) He doesn't communicate his ideas effectively, i.e., he does not write clearly or well.

Now, my rejoinders to the above claims:

Claim #1: Quite simply, those who make this claim need to practice better scholarship. Edelman first suggested the idea of neuronal group selection nearly thirty years ago. Back in the late 1970s, no one else in neuroscience ventured any such selectionist ideas. Moreover, early on, Edelman took quite a lot of heat for this notion. His transition from immunology to neuroscience, though logical from a theoretical perspective (moving from one selectional domain to another), may have offended stalwarts of the neuroscientific establishment. In any case, later, when the evidence suggested that Edelman was indeed correct about competition among groups of neurons (see, for example, the work of M. Merzenich), the attitude of many within and outside of neurobiology was something along the lines of, "oh yeah, but of course there are competitive interactions between functional neuronal assemblies; everybody knows that!" Well, clearly not everybody, and certainly not back in 1978. Over three decades, an original idea had thus been unfairly relegated to derivative status. It wasn't derivative; it was the source.

Claim #2: There is much evidence to suggest that neural representations of the world are dynamic and based on the competitive interactions between functionally defined and degenerate (e.g., non-identical) groups of neurons. Many alternative views of the central nervous system (CNS) have invoked formal computational principles. But everything we know about the CNS suggests that it functions nothing like a computer. If it were a sort of Turing machine, it would represent the only such example known to biology. Most modern biologists steeped in evolutionary principles (whether strictly Darwinian or of the Punctuated Equilibrium variety championed by Stephen Jay Gould and Niles Eldredge) would probably balk, first, at the notion of the emergence of organized populations of cells (or proteins or molecules, for that matter) capable of executing computations in the same manner as a digital computer, and second, at the idea that this sort of arrangement, if it had appeared at all, would have appeared only once over the course of evolutionary history. Finally, a challenge to those who too easily dismiss Edelman's Theory of Neuronal Group Selection and all that has followed from it: Go ahead and TRY to formulate a detailed, testable theory of brain function that takes account of the underlying biology of the central nervous system. Any takers? No? Enough said.

Claim #3: A number of Edelman's critics, such as the science writer George Johnson (Miss Leavitt's Stars), see little distinction between Edelman's characterization of the workings of the brain and computation-based information processing. But there is one profound difference. In selection-based systems such as the immune system or the CNS, meaning or "information" is imposed from within; in instruction-based systems such as digital computing, meaning is imposed from without; there is no internal meaning--a lot of lights may be on, but nobody's home. Often, traditional digital computers fail in tasks that involve discriminating novelty in a changing environment or generalizing across categories; brains excel in such tasks. But brains built like computers would be neither flexible nor adaptive. Moreover, a computer built like a brain, with little or no specific point-to-point wiring, would not be a functional computer. Precise instructions could not be implemented on such a machine in the absence of point-to-point wiring.

Some critics perceive something of a contradiction in the fact that, while Edelman has strongly rejected the notion of brain-as-computer, he and his colleagues have created simulations of the brain using massively powerful supercomputers. This point is either a red herring or simply represents a woeful ignorance of the nature of computer-based modeling and its applications in biology. When one models biological structures and their interactions on a computer--whether these are proteins folding a certain way, bones reacting to mechanical forces, or brains that can interact with, and adapt to, a world of novelty--one essentially uses software to approximate the analog and not infrequently stochastic behaviors of elements within the biological system being modeled. So, in the case of a biologically based brain simulation, the software instantiates on the computer a functional approximation of neurons with firing thresholds which shift in a circuit interaction- and context-driven fashion. The computer's overt behavior--or that of the device it controls--is not binary when this software is being run. The computer--or more properly, the simulation running on it--does not behave like a classical Turing machine. Why is this so hard to understand?

Claim #4: Actually, Edelman's descriptions and characterizations of various philosophical stances are generally detailed and accurate, and show a depth of understanding that could only have come from a thorough and voracious reading of much of philosophy, not just the philosophy of mind. Edelman has obviously taken in and "gets" the bulk of what philosophers have to say about the nature of knowledge.

Claim #5: In fact, I think Edelman has pulled his punches when it comes to taking on modern philosophical approaches to brain, mind, and the nature of knowledge. Although in his review of Second Nature, David Papineau clearly took offense at Edelman's characterization of philosophical approaches to epistemology as "armchair operations" (Nature, 2007, 446(5):614-615), it is not at all clear that Edelman actually meant this as an attack. When he makes this statement, though, I think he is clearly on the right track; he just doesn't follow that track far enough. Like it or not, these are armchair operations, and few philosophers have ventured beyond such musings to explore the actual neural substrate that generates knowledge in the first place. There are notable exceptions; the efforts of some philosophers, including most prominently John Searle, Hilary Putnam, Ned Block, and Thomas Metzinger, demonstrate a truly deliberative and concerted effort to incorporate what is known about the biology of the brain into thinking about the nature of cognition in general, consciousness in particular, and human knowledge. But many modern philosophers, I believe, are not merely armchair theoreticians; they are intellectually lazy. They think that, when considering the nature of mental processes, it is actually possible to do an "end-run" around neurobiology. Why bother actually relating organic structure and function to cognition? This stance is, quite simply, bizarre; it seems to be akin to a sort of a holdout syncretism of the ideas of Fodor and Skinner. Whatever the roots of this particular philosophical strain, it is wrong and intellectually dishonest. That Edelman has never actually expressed this in print I can only ascribe to some sense of old school propriety and intellectual fairplay. Would that his critics could exercise the same measure of propriety and fairplay.

Claim #6: Nothing obligates Edelman to give a précis of the state of the art of all of theoretical neuroscience (such as it is), particularly in such a compact book. In his review of Second Nature, David Papineau takes Edelman to task for the absence of "scientific comparisons" and suggests that "[a] naïve reader could easily form the impression that Edelman and his associates are the only people trying to use scientific information to cast light on the human mind." (p.615) Well, this is a rather silly point, as a book of this size is clearly not intended to serve as a reference text or primer. Moreover, had any other neuroscientists actually offered competing comprehensive and testable theories of higher brain function and/or consciousness, I have no doubt that Edelman would have felt obliged to take full account of these in Second Nature. So far, they haven't. David Papineau offers that the book presents a senior scientist's "potted cultural history." (p.615) For what it's worth, I eagerly await Prof. Papineau`s version of the cultural history of the science and philosophy of mind. What would such a [presumably] unexpurgated historical landscape actually look like, Prof. Papineau, and precisely who and what, in the way of deep theoreticians and theory, would populate this landscape? Offer some examples and I might even relent and recant my denigration of your odd and useless proclamation.

Claim #7: This is a very old criticism, dating way back to the publication of Neural Darwinism in 1987. In his thick body of work, Edelman has tried to explain nothing less than the workings of the most complicated object in the known universe. Moreover, early on, he attempted this at a time when there were no commonly accepted terms for the interactions he sought to describe ("reentry" and "degeneracy" are examples of terms Edelman coined more than twenty years ago to describe phenomena and properties not previously recognized by neuroscientists). There are many biological properties, principles, and concepts that, by their nature, don't lend themselves to simple descriptions or easy explanations. In Second Nature, Edelman's prose and its organization are clear and amazingly methodical for such a brief book. The book is densely packed, and the subject matter is obviously difficult. Unlike some philosophers, whose abstractions of cognitive properties resemble nothing more or less than a functionalist's "black-box," offering [biologically] context-free and meaningless thought experiments and little depth or intellectual satisfaction, Edelman has gone to great pains in previous works to describe very complex neural properties in the clearest possible manner. With Second Nature, he has taken on the additional task of reconciling his view of brain function--specifically consciousness, that most mysterious of all neural processes--with the nature of human knowledge itself. Edelman addresses the question of whether the highest expressions of human concern--creative pursuits such as art, poetry, and music, or the ethical and moral codes that glue human societies together--can ultimately be " . . . reduced to a series of epigenetic rules of brain action." (p. 156) Unlike Patricia Churchland, Edelman is not a reductionist, so his answer to this question is a resounding "no." (playing or listening to the Chaconne from Bach's Partita #2 cannot be boiled down to an orderly, reproducible code of neuronal firing; and, contrary to the view offered in Churchland's Neurophilosophy, the terms that refer to complex neural function will not simply fall away as neural mechanism reduces to the description of the electrochemical properties of firing neurons; nor, finally, will consciousness come down to the subatomic states of microtubules, as Penrose has suggested). But within the subtext of Second Nature is another, very provocative, question that few before have posed in earnest: Would knowing how the brain works down to the finest detail fundamentally alter the nature of human concern? Although he offers no explicit answer to this question, I suspect Edelman's answer would be "probably not."

So, in sum, don't be put off by the acerbic musings of Edelman's critics (or the length of this review); go ahead and read Second Nature. It may change profoundly your perspective on the nature of human knowledge and its ultimate creator and locus, the human brain.

6 of 6 people found the following review helpful.
Ingenious, But Not the Whole Story
By Dr. Richard G. Petty
Gerald Edelman won the Nobel Prize for Medicine in 1972 for his groundbreaking work on immunity. Though most Nobel Laureates either choose - or are forced to - rest on their laurels, Edelman soon began to move his attention to the brain and his first book on his theories was published as The Mindful Brain almost thirty years ago. In recent years he has suggested that the ways in which the complex adaptive system by which the body decides which lymphocytes to stimulate and mobilize may be similar to the way in which the brain functions.

His theory is known as "neuronal group selection" or "Neural Darwinism" and proposes that anatomical connections in the brain are selected during development. Secondly that there is a second selective process that occurs as a result of experiences after birth, and finally that there is a system of what is known as re-entrant signaling.

It is a beautiful and complex theory and over the last twenty years he has explored these ideas in a series of books: In 1987 he published Neural Darwinism: The Theory Of Neuronal Group Selection Three years later came Remembered Present: A Biological Theory Of Consciousness, and then Bright Air, Brilliant Fire: On The Matter Of The Mind in 1992. It was almost a decade before he returned to his theme in A Universe Of Consciousness How Matter Becomes Imagination. I have enjoyed all of them, though none is easy reading, and I kept coming away with the uneasy feeling that the work is ingenious, but does not explain quite as much as it seems.

This latest book, Second Nature, is much the most accessible of his works, but left me with a similar feeling: ingenious but lacking.

So what is it about? Edelman skims over the details of his theory of neuronal group selection but on this occasion he does not assume a lot of knowledge on the part of the reader. So he explains the basic ideas very clearly and sets the theory in context in thirteen chapters:
1. The Galilean Arc and Darwin's Program
2. Consciousness, Body, and Brain
3. Selectionism: A Prerequisite for Consciousness
4. From Brain Activity to Consciousness
5. Epistemology and Its Discontents
6. A Brain-Based Approach
7. Forms of Knowledge: The Divorce between Science and the Humanities
8. Repairing the Rift
9. Causation, Illusions, and Values
10. Creativity: The Play between Specificity and Range
11. Abnormal States
12. Brain-Based Devices: Toward a Conscious Artifact
13. Second Nature: The Transformation of Knowledge

He takes the view that any effective theory of consciousness must take a global, whole brain approach and must be based on selection rather than instruction.

In contrast to many books for the public, he emphasizes that "the brain is not a computer, and the world is not a piece of tape." This is important: complex systems are riddled with "noise" and computers have to get rid of it, while brains actively depend on it. The brain uses the enormous and ever-changing variability of sensory inputs - noise - to construct patterned responses.

A problem that has pre-occupied philosophers and scientist for generations is subjectivity or qualia: how do we generate those private experiences of sights and sounds? Edelman thinks that he has the answer: Complex looping neural circuits that make multiple discriminations, and the qualia are those discriminations.

This ingenious idea is hard to prove. It also fails to take into account observations on the continuity of awareness in meditators with negligible neurological activity. Or the hardest nut of all: does this truly help us to create a neurological model of consciousness? For some people such questions are unimportant, and simply await time and technology. But I think that they remain key tests of the theory.

This is a short, but extremely clear and thought provoking book that I recommend highly.

Richard G. Petty, MD, author of Healing, Meaning and Purpose: The Magical Power of the Emerging Laws of Life

6 of 7 people found the following review helpful.
A short introduction to brain-based epistemology
By Dr. Lee D. Carlson
If you take the naturalized epistemology of the philosopher Willard Quine and extend it beyond the role of sense perception, you might arrive at what the author of this book calls "brain-based epistemology." His opinions in this book are very sensible, especially if viewed from the standpoint of what is known in contemporary neuroscience. His expertise in this field is of course well known, but to apply cognitive neuroscience to the understanding of consciousness has only recently been attempted, with some experimental support. Due to its length, the reader will not find a detailed overview of this research in this book, but it will give an introduction to some of the author's essential ideas, which he like to encapsulate in the expression `Neural Darwinism.'

One interesting feature of the author's line of thinking, as in many systems of naturalized epistemology, is that it allows room for both scientific knowledge and knowledge derived from the "humanities". It would seem improbable that evolutionary pressures would not make poetry, art, and literature part of the human survival strategy, given the widespread occurrence of at least one of these areas in all human cultures throughout history. The author would view these areas as expressions of the "pattern recognition" capability of the brain, whereas science and mathematics are more in line with the ability of the brain to indulge itself in logical reasoning. But pattern recognition is the predominant mode for human thinking, with the immediate corollary that metaphors are the tool for which this is done. Scientific reasoning then is a highly specialized (and uncommon) mode of cognition, which is specific in scope and undetermined in justification. This would explain why scientific reasoning does not come as naturally to all as other modes of thought. However, the brain encompasses all of these modes, and so the sciences and the humanities could be viewed as facets of the same brain crystal. To separate them would be fallacious, and therefore the author spends an entire chapter "repairing the rift" between the natural sciences and the humanities.

The author's view of consciousness is one of an unabashed anti-Cartesianism, for he rejects dualism and views consciousness as a purely natural consequence of brain processes, these processes having the nature that they do because of evolutionary pressures. The author also rejects the notion of "brain as computer" but he does believe that it is possible to construct a conscious artifact, and spends a fair amount of time discussing on-going research devoted to this. In addition, and most interestingly, he views language as an "invention" and thus rejects the notion of an innate language mechanism that everyone is born with.

It remains to be seen whether the author's ideas on the origin and nature of consciousness will be justified in further research, but this book does have the virtue that it does not fall into the trap of pure philosophical speculation. This is not to say that such speculation is never of value, but one must know when to stop, when to put down the philosophical drink, lest one become lost in a maze of gigantic conceptual spaces that philosophers love to construct. Experimentation and observation should govern the investigation of consciousness, and artifacts or machines constructed that allow the testing of the more rudimentary ideas proposed. It is refreshing that cognitive neuroscientists have finally given the study of consciousness a genuine place in scientific investigation. No doubt there will be many surprises to come in this investigation in the decades ahead.

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From Googlebooks: Originally published in 1970, Robin Knox-Johnston's A World of My Own has become a treasured classic - the dramatic account of the first nonstop, single-handed voyage around the world, for which Knox-Johnston won the Sunday Times Golden Globe trophy. On June 14, 1968, Suhaili, a tiny ketch, slipped almost unnoticed out of Falmouth harbor while Knox-Johnston's family and a few friends waved goodbye to the solitary twenty-nine-year-old figure at the helm. His was an incredible adventure, a feat of endeavor and seamanship which will be unsurpassed and unforgotten. Sheer determination helped him survive every imaginable difficulty: Several knockdowns in the Southern Ocean, the disintegration of the self-steering system, polluted water tanks and acid burns were among the numerous setbacks he encountered even before reaching Cape Horn, the fearsome test of any seaman's nerve.

  • Sales Rank: #1060440 in Books
  • Published on: 1969-10
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 256 pages

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0 of 0 people found the following review helpful.
Perhaps the most classic round the world via the great capes singlehanded books ever written
By Tony Bentley
Perhaps the most classic round the world via the great capes singlehanded books ever written. It's next to Slocum and Moitessier. One of my favorites.

0 of 0 people found the following review helpful.
Five Stars
By Jack Walsh
Great book great condition :)

0 of 1 people found the following review helpful.
enjoyed the book
By Choycesdad 1
ordered the book, got the book in good shape, as expected, this is the second time I read the book

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Walter De Maria: Trilogies (Menil Collection)From The Menil Collection

American artist Walter De Maria is associated with Minimal, conceptual, installation, and land art. He is best known for The Lightning Field, 1977, a long-term installation in western New Mexico made up of four hundred pointed stainless steel poles arranged in a grid over an area measuring one mile by one kilometer. Despite the role he has played in contemporary art over the past fifty years, few books have been dedicated to the artist. Featuring new paintings and sculptures and never before published texts, this volume explores in detail the works in the artist's first major museum exhibition in the United States: "Walter De Maria: Trilogies" at the Menil Collection.

In the expansive new work the Bel Air Trilogy, 2000–11, De Maria has combined exacting geometry with the entirely unexpected element of three impeccably restored 1955 Chevrolet Bel Air two-tone hardtops. Each car is pierced by a twelve-foot-long stainless steel rod in the shape of a circle, square, or triangle that runs through the front and rear windshields. The Bel Air Trilogy is joined by De Maria's austere tripartite sculpture with moveable spheres, the Channel Series, 1972, and The Statement Series, 1968/2011. Building upon his large-scale 1968 canvas The Color Men Choose When They Attack The Earth, for The Statement Series, the artist created two additional monochrome paintings with engraved stainless steel plates that complement the original piece. The works in this volume are a testament to De Maria's ongoing investigation of the conceptual, the dramatic, the monumental, the minimal, and the real. Together these three trilogies challenge and broaden our understanding of the artist's work.

  • Sales Rank: #1246670 in Books
  • Published on: 2012-03-06
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.64" h x .58" w x 9.78" l, 1.91 pounds
  • Binding: Hardcover
  • 88 pages

About the Author
Josef Helfenstein is the director of and Clare Elliott is assistant curator at The Menil Collection.

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