Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    From sensations that probably began in bodily expression to the evolutionary advantages of a conscious self, 'Seeing Red' tracks the 'hard problem' of consciousness to its source and its solution, a solution in which, paradoxically, the very hardness of the problem may make all the difference.

    But how the mind works remains one of humankind's greatest mysteries. With boundless curiosity and enthusiasm, Shannon Moffett, a Stanford medical student, takes us down the halls of neuroscience to the front lines of cutting-edge research and medicine to meet some of today's most extraordinary scientists and thinkers, all grappling with provocative questions: Why do we dream? How does memory work? How do we see? What happens when we think? Each chapter delves into a different aspect of the brain, following the experts as they chart new ground. Moffett takes us to a lab where fMRI scans reveal the multitude of stimuli that our brains unconsciously take in; inside an operating room where a neurosurgeon removes a bullet from a patient's skull; to the lab of Christof Koch, a neuroscientist tracking individual neurons in order to crack the code of consciousness; and to a research lab where scientists are investigating the relationship between dreams and waking life. She also takes us beyond the scientific world—to a Zen monk's zendo, where she explores the effects of meditation on the brain; inside the home of a woman suffering from dissociative identity disorder; to a conference with the philosopher Daniel Dennett, who uses illusions, magic, tricks, and logic to challenge our assumptions about the mind; and to the home of the late Nobel Laureate Francis Crick, co-discoverer with James Watson of DNA's double-helix structure. Filled with fascinating case studies and featuring a timeline that tracks the development of the brain from conception to death, The Three Pound Enigma is a remarkable exploration of what it means to be human.

    It is the product of preparation and effort, and it's within reach of everyone who wants to achieve it. All it takes is the willingness to make creativity a habit, an integral part of your life: In order to be creative, you have to know how to prepare to be creative. In The Creative Habit, Tharp takes the lessons she has learned in her remarkable thirty-five-year career and shares them with you, whatever creative impulses you follow -- whether you are a painter, composer, writer, director, choreographer, or, for that matter, a businessperson working on a deal, a chef developing a new dish, a mother wanting her child to see the world anew. When Tharp is at a creative dead end, she relies on a lifetime of exercises to help her get out of the rut, and The Creative Habit contains more than thirty of them to ease the fears of anyone facing a blank beginning and to open the mind to new possibilities. Tharp's exercises are practical and immediately doable -- for the novice or expert. In "Where's Your Pencil?" she reminds us to observe the world -- and get it down on paper. In "Coins and Chaos," she provides the simplest of mental games to restore order and peace. In "Do a Verb," she turns your mind and body into coworkers. In "Build a Bridge to the Next Day," she shows how to clean your cluttered mind overnight. To Tharp, sustained creativity begins with rituals, self-knowledge, harnessing your memories, and organizing your materials (so no insight is ever lost). Along the way she leads you by the hand through the painful first steps of scratching for ideas, finding the spine of your work, and getting out of ruts into productive grooves. In her creative realm, optimism rules. An empty room, a bare desk, a blank canvas can be energizing, not demoralizing. And in this inventive, encouraging book, Twyla Tharp shows us how to take a deep breath and begin!

    The interviewees, ranging from major philosophers to renowned scientists, talk candidly with Blackmore about some of the key philosophical issues confronting us in a series of conversations that are revealing, insightful, and stimulating. They ruminate on the nature of consciousness (is it something apart from the brain?) and discuss if it is even possible to understand the human mind. Some of these thinkers say no, but most believe that we will pierce the mystery surrounding consciousness, and that neuroscience will provide the key. Blackmore goes beyond the issue of consciousness to ask other intriguing questions: Is there free will? (A question which yields many conflicted replies, with most saying yes and no.) If not, how does this effect the way you live your life; and more broadly, how has your work changed the way you live?Paired with an introduction and extensive glossary that provide helpful background information, these provocative conversations illuminate how some of the greatest minds tackle some of the most difficult questions about human nature.

    We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. It’s easy to say that humans are “wired” for story, but why?In this delightful and original book, Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems—just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.Drawing on the latest research in neuroscience, psychology, and evolutionary biology, Gottschall tells us what it means to be a storytelling animal. Did you know that the more absorbed you are in a story, the more it changes your behavior? That all children act out the same kinds of stories, whether they grow up in a slum or a suburb? That people who read more fiction are more empathetic?Of course, our story instinct has a darker side. It makes us vulnerable to conspiracy theories, advertisements, and narratives about ourselves that are more “truthy” than true. National myths can also be terribly dangerous: Hitler’s ambitions were partly fueled by a story.But as Gottschall shows in this remarkable book, stories can also change the world for the better. Most successful stories are moral—they teach us how to live, whether explicitly or implicitly, and bind us together around common values. We know we are master shapers of story. The Storytelling Animal finally reveals how stories shape us.

    Illustrates outdoor sculptures created with a range of natural materials, including snow, ice, leaves, rock, clay, stones, feathers, and twigs.

    In The First Idea, Stanley Greenspan and Stuart Shanker explore this missing link and offer brilliant new insights into two longstanding questions: how human beings first create symbols and how these abilities evolved and were transmitted across generations over millions of years. From fascinating research into the intelligence of both human infants and apes, they identify certain cultural practices that are vitally important if we are to have stable and reflective future societies.

    When we see someone in distress, we share that distress. When we see a great actor, musician or sportsperson perform at the peak of their abilities, it can feel like we are experiencing just something of what they are experiencing. Yet only recently, with the discover of mirror neurons, has it become clear just how this powerful sharing of experience is realised within the human brain. This book provides, for the first time, a systematic overview of mirror neurons, written by the man who first discovered them.In the early 1990's Giacomo Rizzolatti and his co-workers at the University of Parma discovered that some neurons had a surprising property. They responded not only when a subject performed a given action, but also when the subject observed someone else performing that same action. These results had a deep impact on cognitive neuroscience, leading the neuroscientist vs Ramachandran to predict that 'mirror neurons would do for psychology what DNA did for biology'. The unexpected properties of these neurons have not only attracted the attention of neuroscientists. Many sociologists, anthropologists, and even artists have been fascinated by mirror neurons. The director and playwright Peter Brook stated that mirror neurons throw new light on the mysterious link that is created each time actors take the stage and face their audience - the sight of a great actor performing activates in the brain of the observer the very same areas that are active in the performer - including both their actions and their emotions.Written in a highly accessible style, that conveys something of the excitement of this groundbreaking theory, Mirrors in the Brain is the definitive account of one the major scientific discoveries of the past 50 years.

    He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful.Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art -- including art that takes time to complete and art that isn't serious -- that cannot be learned in studio art classes.Elkins's incisive commentary illuminates the experience of learning art for those involved in it, while opening an intriguing window for those outside the discipline.

    Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production.

    If you want to understand this central quality of human nature to its roots, read Why We Love." —Edward O. WilsonIn Why We Love, renowned anthropologist Helen Fisher offers a new map of the phenomenon of love—from its origins in the brain to the thrilling havoc it creates in our bodies and behavior. Working with a team of scientists to scan the brains of people who had just fallen madly in love, Fisher proved what psychologists had until recently only suspected: when you fall in love, specific areas of the brain "light up" with increased blood flow. This sweeping new book uses this data to argue that romantic passion is hardwired into our brains by millions of years of evolution. It is not an emotion; it is a drive as powerful as hunger.Provocative, enlightening, engaging, and persuasive, Why We Love offers radical new answers to age-old questions: what love is, who we love—and how to keep love alive.

    Now, in The Upside of Irrationality, he exposes the surprising negative and positive effects irrationality can have on our lives. Focusing on our behaviors at work and in relationships, he offers new insights and eye-opening truths about what really motivates us on the job, how one unwise action can become a long-term habit, how we learn to love the ones we're with, and more. Drawing on the same experimental methods that made Predictably Irrational one of the most talked-about bestsellers of the past few years, Ariely uses data from his own original and entertaining experiments to draw arresting conclusions about how—and why—we behave the way we do. From our office attitudes, to our romantic relationships, to our search for purpose in life, Ariely explains how to break through our negative patterns of thought and behavior to make better decisions. The Upside of Irrationality will change the way we see ourselves at work and at home—and cast our irrational behaviors in a more nuanced light.

    However, according to Hofstadter, the formal system that underlies all mental activity transcends the system that supports it. If life can grow out of the formal chemical substrate of the cell, if consciousness can emerge out of a formal system of firing neurons, then so too will computers attain human intelligence. Gödel, Escher, Bach is a wonderful exploration of fascinating ideas at the heart of cognitive science: meaning, reduction, recursion, and much more.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.