In this much-anticipated book, Michael Tomasello weaves his twenty years of comparative studies of humans and great apes into a compelling argument that cooperative social interaction is the key to our cognitive uniqueness. Once our ancestors learned to put their heads together with others to pursue shared goals, humankind was on an evolutionary path all its own.Tomasello argues that our prehuman ancestors, like today's great apes, were social beings who could solve problems by thinking. But they were almost entirely competitive, aiming only at their individual goals. As ecological changes forced them into more cooperative living arrangements, early humans had to coordinate their actions and communicate their thoughts with collaborative partners. Tomasello's "shared intentionality hypothesis" captures how these more socially complex forms of life led to more conceptually complex forms of thinking. In order to survive, humans had to learn to see the world from multiple social perspectives, to draw socially recursive inferences, and to monitor their own thinking via the normative standards of the group. Even language and culture arose from the preexisting need to work together. What differentiates us most from other great apes, Tomasello proposes, are the new forms of thinking engendered by our new forms of collaborative and communicative interaction.A Natural History of Human Thinking is the most detailed scientific analysis to date of the connection between human sociality and cognition.

    This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the -unity of all living things- and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and -constructive- aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work.

    Originally published in 1976, Grist for the Mill offers a deep spiritual journey of self-discovery, and a universal understanding of what it means to "be" and to grow as human beings. The book is fully revised with a new introduction.As Ram Dass puts it, "When the faith is strong enough it is sufficient just to be. It’s a journey towards simplicity, towards quietness, towards a kind of joy that is not in time. It’s a journey that has taken us from primary identification with our body and our psyche, on to an identification with God, and ultimately beyond identification."

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Krishnamurti and David Bohm probe such questions as ‘why has humanity made thought so important in every aspect of life? How does one cleanse the mind of the ‘accumulation of time’ and break the ‘pattern of ego -centered activity’?The Ending of Time concludes by referring to the wrong turn humanity has taken, but does not see this as something from which there is no escape. There is an insistence that mankind can change fundamentally; but this requires going from one’s narrow and particular interests toward the general, and ultimately moving still deeper into that purity of compassion, love and intelligence that originates beyond thought, time, or even emptiness.

    His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, science, politics and warfare.In Art and Fear, Paul Virilio traces the twin development of art and science over the twentieth century. In his provocative and challenging vision, art and science vie with each other for the destruction of the human form as we know it. He traces the connections between the way early twentieth century avant-garde artists twisted and tortured the human form before making it vanish in abstraction, and the blasting to bits of men who were no more than cannon fodder i nthe trenches of the Great War; and between the German Expressionists' hate-filled portraits of the damned, and the 'medical' experiments of the Nazi eugenicists; and between the mangled messages of global advertising, and the organisation of global terrorism.Now, at the start of the twenty-first century, science has finally left art behind, as genetic engineers prepare to turn themselves into the worst of expressionists, with the human being the raw material for new and monstrous forms of life.Art and Fear is essential reading for anyone wondering where art has gone and where science is taking us.

    It combines the latest findings from the field of neuroscience with expert text and state-of-the-art illustrations and imaging techniques to provide an incomparable insight into every facet of the brain. Layer by layer, it reveals the fascinating details of this remarkable structure, covering all the key anatomy and delving into the inner workings of the mind, unlocking its many mysteries, and helping you to understand what's going on in those millions of little gray and white cells.Tricky concepts are illustrated and explained with clarity and precision, as The Human Brain Book looks at how the brain sends messages to the rest of the body, how we think and feel, how we perform unconscious actions (for example breathing), explores the nature of genius, asks why we behave the way we do, explains how we see and hear things, and how and why we dream. Physical and psychological disorders affecting the brain and nervous system are clearly illustrated and summarized in easy-to-understand terms.The unique DVD brings the subject to life with interactive elements. These include a clickable model of the brain's structure that allows the user to zoom in and discover deeper layers of detail, while complex processes, such as the journey of a nerve impulse, are broken down and simplified through intuitive animations.

    The bad news is that these turn out to be the very things most discouraged by contemporary culture. This knotty dilemma is the subject of The Age of Absurdity - a wry and accessible investigation into how the desirable states of wellbeing and satisfaction are constantly undermined by modern life. Michael Foley examines the elusive condition of happiness common to philosophy, spiritual teachings and contemporary psychology, then shows how these are becoming increasingly difficult to apply in a world of high expectations. The common challenges of earning a living, maintaining a relationship and ageing are becoming battlegrounds of existential angst and self-loathing in a culture that demands conspicuous consumption, high-octane partnerships and perpetual youth. In conclusion, rather than denouncing and rejecting the age, Foley presents an entertaining strategy of not just accepting but embracing today's world - finding happiness in its absurdity.

    We all hope that these aspects of our life will be a source of fulfillment and pleasure, and they often are. Yet they are also always sources of problems for which we seek practical advice and solutions. The best prescription, according to Chögyam Trungpa, is a dose of reality and also a dose of respect for ourselves and our world. His profound teachings on work, sex, and money celebrate the sacredness of life and our ability to cope with its twists and turns with dignity, humor, and even joy. He begins by breaking down the barrier between the spiritual and the mundane, showing that work, sex, and money are just as much a part of our spiritual life as they are a part of our everyday existence. He then discusses these subjects in relation to ego and self-image, karma, mindfulness, and meditation. “Work” includes general principles of mindfulness and awareness in how we conduct everyday life as well as discussion of ethics in business and the workplace. “Sex” is about relationships and communication as a whole. “Money” looks at how we view the economics of livelihood and money as “green energy” that affects our lives. The result is an inclusive vision of life, one that encompasses the biggest issues and the smallest details of every day. There are, in fact, few definitive answers in these pages. There is, however, authentic wisdom providing us with tools we need to work with the toughest stuff in our lives.

    In an age where we've mapped the human genome and explored much of the physical world, the study of people's behaviour is one of the most exciting frontiers of scientific endeavor.In this Very Short Introduction Richard Crisp tells the story of social psychology, its history, concepts and major theories. Discussing the classic studies that have defined the discipline, Crisp introduces social psychology's key thinkers, and shows how their personal histories spurred them to understand what connects people to people, and the societies in which we live. Taking us from the first ideas of the discipline to its most cutting edge developments, Crisp demonstrates how social psychology remains profoundly relevant to everyday life. From attitudes to attraction, prejudice to persuasion, health to happiness - social psychology provides insights that can change the world, and help us tackle the defining problems of the 21st century.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

    Here, Jenny Odell sends up a flare from the heart of Silicon Valley, delivering an action plan to resist capitalist narratives of productivity and techno-determinism, and to become more meaningfully connected in the process.

    The book has remained continuously in print through many editions and has some more than a quarter of a million copies. It is, as American Artist Magazine calls it, the "artist's bible," an invaluable reference for the painter, sculptor, and printmaker. During the past few years, however, new art movements and new research have led to many changes in the technology of artist's materials. With the assistance of Mayer's window, Bena, and his colleagues, Viking and Steven Sheehan, Director of the Ralph Mayer Center at Yale University, have prepared this latest revision of the book, which is now completely updated and expanded.

    In over 400 drawings, George B. Bridgman demonstrates the machine through the presentations which made him a gifted lecturer and teacher in his nearly fifty years at the Art Students League in New York and which gave life to drawings by his many students during those years. All skeletal and muscular systems are fully identified, and all are shown in front, back, and side views.The Human Machine begins with the framework of bones. In each section (head, neck, hand, arm, forearm, elbow, trunk, shoulder, back, scapular region, pelvis, hip, thigh, leg, knee, foot, and toe as well as the combinations of the major sections working together), George Bridgman starts with the skeletal components of the system; then he adds the muscles, shows the changes in the muscles as the body moves and, finally, shows the appearance of the bodily section in action. At the title implies, Bridgman, throughout, supplements his anatomical work with comparative drawings of simple machines. The anatomical approach to figure drawing is the foundation for the study of human form, and as in his other books on figure drawing, Bridgman's Life Drawing and The Book of a Hundred Hands, Bridgman's approach to the subject is important and unique. The Human Machine will give students and serious artists the conception of the human structure as the complex of beautiful machines it is, and will show how bone and muscle structures are solely responsible for our movements and for the shapes which we, at various times, display.

    He encouraged the fledgling painters, musicians, writers, and dreamers to break rules and think outside the box. Most of all, he encouraged them to make good art.The book Make Good Art, designed by renowned graphic artist Chip Kidd, contains the full text of Gaiman’s inspiring speech.

    But what if the objects themselves are not what matter? In Strange Tools: Art and Human Nature, the philosopher and cognitive scientist Alva Noë argues that our obsession with works of art has gotten in the way of understanding how art works on us.For Noë, art isn’t a phenomenon in need of an explanation but a mode of research, a method of investigating what makes us human—a strange tool. Art isn’t just something to look at or listen to—it is a challenge, a dare to try to make sense of what it is all about. Art aims not for satisfaction but for confrontation, intervention, and subversion. Through diverse and provocative examples from the history of art-making, Noë reveals the transformative power of artistic production. By staging a dance, choreographers cast light on the way bodily movement organizes us. Painting goes beyond depiction and representation to call into question the role of pictures in our lives. Accordingly, we cannot reduce art to some natural aesthetic sense or trigger; recent efforts to frame questions of art in terms of neurobiology and evolutionary theory alone are doomed to fail.By engaging with art, we are able to study ourselves in profoundly novel ways. In fact, art and philosophy have much more in common than you might think. Reframing the conversation around artists and their craft, Strange Tools is a daring and stimulating intervention in contemporary thought.