A language that can only be heard when one truly listens. It’s the language of The Spirit Whisperer.         In John Holland’s past books, he explained how he came to terms with, and learned to accept and embrace, his spiritual gifts as a psychic medium; and how “readers” could develop their own intuitive psychic abilities.     In this book, John picks up the fascinating story of his personal journey of growth and development as one of the most respected practicing mediums today. This work chronicles his career to date and includes some enlightening and heartfelt real-life case studies. He candidly discusses readings with clients, including those who’ve had their own After Death Communications (ADCs)—from the outrageous to the profound. John also explains the signs and symbols that our loved ones continually try to send us. One of his most popular sayings is: “Those on the Other Side want to talk to you—as much as you want to talk to them!”John divulges for the first time some of the extraordinary paranormal occurrences he’s witnessed throughout his career, and provides a rare glimpse behind the scenes of what it’s like to be a “Psychic Time Machine” for several television shows. He’ll also help parents who have a psychic child themselves. The Spirit Whisperer is a book you’ll want to read over and over, as many of the stories will touch your heart as well as your soul!

    The author analyzes both historical and contemporary trends, as well as the major theories used to explain the dynamics underlying international relations--helping you to think critically about these topics by presenting rival views. From global development, the practice of terrorism, and the war in Iraq to peacekeeping operations and the transformations evident since 9/11, this thought-provoking textbook briefs you on the most recent indicators of global trends. An extensive map, figure, and photo program helps you visualize the significance of statistical data and the implications of global rivalries.

    But in Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities, especially the study of literature, offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just.Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith's great classic, The Wealth of Nations, and his less celebrated book on The Theory of Moral Sentiments, and contend that a few decades later Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity.Morson and Schapiro argue that Smith's heirs include Austen, Anton Chekhov, and Leo Tolstoy as well as John Maynard Keynes and Milton Friedman. Economists need a richer appreciation of behavior, ethics, culture, and narrative--all of which the great writers teach better than anyone.Cents and Sensibility demonstrates the benefits of a freewheeling dialogue between economics and the humanities by addressing a wide range of problems drawn from the economics of higher education, the economics of the family, and the development of poor nations. It offers new insights about everything from the manipulation of college rankings to why some countries grow faster than others. At the same time, the book shows how looking at real-world problems can revitalize the study of literature itself.Original, provocative, and inspiring, Cents and Sensibility brings economics back to its place in the human conversation.

    William Glasser details the choice theory-a science of human behaviors and principles for regaining and maintaining internal control-and the role it can play in helping you regain your personal freedom and choice. "Take Charge of Your Life, " a revision of his 1984 book, "Control Theory, " includes choice-theory applications. He explains choice theory using personal examples and illustrative stories that allow you to learn how to improve your relationships and take charge of your actions. Topics include marital and relationship problems, parenthood, alcoholism, diseases, and psychosomatic disorders. For each situation discussed, Glasser ties behavior to the pictures of what people want in their heads. He explains how the pictures got there and how people can choose new behaviors to get what they really want. In "Take Charge of Your Life, " Glasser offers a real model of empowerment. He shows how you can become a part of the equation that adds happiness and connection to the world in which you live now and to the world of future generations.

         Taoism isn’t a spiritual extracurricular activity, it’s an integral practice for living all of  life to the fullest.  The modern Taoist adept Eva Wong is your guide to living well according to the wisdom of this ancient system.  She uses the ancient texts to demonstrate the Taoist masters’ approach to the traditional four aspects of life--the public, the domestic, the private, and the spiritual—and shows how learning to balance them is the secret to  infusing your life with health, harmony, and deep satisfaction.​

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Written by scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. Providing a fresh new look at art that moves away from traditional elitist approaches, the series makes use of new research and methodologies, as well as newly accessible and non-canonical works to offer comprehensive coverage of the art world from archaic and classical Greek art to twentieth-century design and photography, from the artistry of African-American and Native North Americans to the masterpieces of Europe, Polynesia, and Micronesia. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art.China boasts a history of art spanning 5,000 years and embracing a wide diversity of images and objects--from jade tablets, painted silk handscrolls and fans to ink and lacquer painting, porcelain-ware, sculpture, and calligraphy. But this rich tradition has not, until now, been fully appreciated in the West where scholars have focused their attention on sculpture, while largely ignoring those art forms most highly prized by the Chinese themselves, such as calligraphy. Now, in Art in China, Craig Clunas marks a breakthrough in the study of the subject. Taking into account all the arts practiced in China, and drawing on recent innovative scholarship, this rich text examines the production and consumption of art in its appropriate contexts. From art found in tombs to the state-controlled art of the Mao Zedong era, Art in China offers a novel look and comprehensive examination of all aspects of Chinese art.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.

    They will also develop a deeper understanding of the many interconnections that exist among the different areas of psychology. Goodwin's book not only provides accounts of the lives and contributions of psychology's pioneers set into historical context; it also contains original writings by these psychologists, interwoven with informative comments from the author. The text is written in a conversational and engaging style with discrete attention to recent scholarship in the history of psychology, especially that of the past 150 years.

    According to Zacharias, how you answer the questions of God's existence will impact your relationship with others, your commitment to integrity, your attitude toward morality, and your perception of truth.

    In this little book Welsh writer and artist David Wade paints a picture of one of the most elusive and pervasive concepts known to man.

    While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an "immaterialist" method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of 'actor-network theory'. In an extended discussion of Leibniz's famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through 'what it is' or 'what it does', but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis.This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

    From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.   As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art.  In this book:  nearly a hundred of his finest essays on the subject.   For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists.  He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.”  He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).   Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded.  His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture.  There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate.  And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.   A meteor of a book that enlightens, startles, stimulates and entertains.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.