Mnookin, American Scientist)This is the first environmental history of China during the three thousand years for which there are written records. It is also a treasure trove of literary, political, aesthetic, scientific, and religious sources, which allow the reader direct access to the views and feelings of the Chinese people toward their environment and their landscape. Elvin chronicles the spread of the Chinese style of farming that eliminated the habitat of the elephants that populated the country alongside much of its original wildlife; the destruction of most of the forests; the impact of war on the environmental transformation of the landscape; and the re-engineering of the countryside through water-control systems, some of gigantic size. He documents the histories of three contrasting localities within China to show how ecological dynamics defined the lives of the inhabitants. And he shows that China in the eighteenth century, on the eve of the modern era, was probably more environmentally degraded than northwestern Europe around this time. Indispensable for its new perspective on long-term Chinese history and its explanation of the roots of China’s present-day environmental crisis, this book opens a door into the Chinese past.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    It fills our Facebook feeds. It keeps afloat a whole armada of late-night comedians, YouTube auteurs, and twitter wits … an endless stream of "Worst Things Ever." Recall, if you will, Rebecca Black's chart-topping disasterpiece, "Friday." Or “The Room”, Tommy Wiseau's cinematic tragedy turned cult farce. Or the devout Spanish septuagenarian who produced an infamously botched, and now stunningly ubiquitous, retouching of a 19th-century fresco of her Lord and Savior Jesus Christ. The Internet era has fueled an obsession with these and other acts of cultural cluelessness. Hardly a week goes by, it seems, without some new aesthetic travesty spreading across the globe in the form of ones and zeros, spawning countless remixes and riffs, like the world's biggest inside joke. And once more the cry goes up: Fail! Epic Fail!But what, exactly, draws us to these futile attempts at making songs, movies, and art? What are the essential ingredients that render a ridiculous failure sublime? More important, what does our seemingly insatiable appetite for the "succès d'incompetence" say about our aesthetic impulses? Our ethical ones? Is our laughter all in good fun or is something more sinister at work?

    Featuring hundreds of unseen live and candid color and black-and-white photographs, "Murder in the Front Row" captures the wild-eyed zeal and drive that made Metallica, Slayer, and Megadeth into legends, with over 100 million combined records sold.

    By drawing on conversations with some of today's seminal improvisers--including John Zorn, Jerry Garcia, Steve Howe, Steve Lacy, Lionel Salter, Earle Brown, Paco Peña, Max Roach, Evan Parker, and Ronnie Scott--Bailey offers a clear-eyed view of the breathtaking spectrum of possibilities inherent in improvisational practice, while underpinning its importance as the basis for all music-making.

    Beginning with ancient Greek and Roman conceptions of the world, Lockman goes on to discuss European ideas about Islam from its emergence in the seventh century, with particular attention to the age of European imperialism, the era of deepening American involvement in this region, and the aftermath of the 9/11 terrorist attacks. Along the way, he explores how scholars and others in the West have studied and depicted Islam and the Middle East, focusing on the politics and controversies that have shaped Middle East studies in the United States over the past half century, including the debates over Said's influential critique, Orientalism. His book relates many of today's critical issues, including Muslim extremism, terrorism and United States policy in the Middle East, to their broader historical and political contexts. Zachary Lockman is Professor of Middle Eastern Studies and History at New York University and a member of the American Historical Association. He has been a Guggenheim fellow and Woodrow Wilson International Center for Scholars fellow. His work includes Comrades and Enemies (University of California Press, 1996), Workers and Working Classes in the Middle East, ed. (SUNY Press, 1993) and Workers on the Nile (Princeton, 1987).

    She found these energetic disturbances correlated with the emotional and physical traumas her clients had experienced throughout their lives, the biofield acting as a record of pain, stress, and trauma from gestation onward. Passing the forks through these areas in the biofield not only corrected the distorted vibrational sounds she was hearing but also imparted consistent, predictable, and sometimes immediate relief from pain, anxiety, insomnia, migraines, depression, fibromyalgia, digestive disorders, and a host of other complaints. Now, nearly 20 years later, McKusick has fully developed her sound healing method, which she calls Sound Balancing, and created a map of the biofield, revealing the precise locations where specific emotions, memories, ailments, and traumas are stored. In this book, McKusick explains the complete practice of Sound Balancing and provides illustrations of her Biofield Anatomy Map. She details how to use tuning forks to find and clear pain and trauma stored in the biofield. She reveals how the traditional principles and locations of the chakras correspond directly with her biofield discoveries. Exploring the science behind Sound Balancing, she examines scientific research on the nature of sound and energy and explains how experiences of trauma produce “pathological oscillations” in the biofield, causing a breakdown of order, structure, and function in the body. Offering a revolutionary perspective on mind, energy, memory, and trauma, McKusick’s guide to Sound Balancing provides new avenues of healing for energy workers, massage therapists, sound healers, and those looking to overcome chronic illness and release the traumas of their past.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Or, maybe, we sent a text message to the wrong number, every one of us has sent a text or two we didn’t mean. Phones these days should come with a warning, 'Don't drink and text.' Many of us have been there, a few drinks down, high on life but the bar has closed, and you want to continue the party, consequently ending up with a pile of drunk texts and a feeling of shame.Suddenly your ex, or that girl in the office you have been mildly flirting with and exchanging funny texts with, seems like just the person who would love to join you for one last drink. Tongue out, one eye open, the other squinting with concentration while you jab awkwardly at the screen with your index finger, you marvel at the poetry of a funny drunk text you are capable of when the inhibitions of basic social decency are gone.If you are lucky, there is no reply to your text message fail, and you fall asleep, to awake the next day with nothing but a hangover and a tinge of embarrassment when you realize what you wrote.Either way, these texts messages always end up hilarious and embarrassing, depending on which side you’re on, our text conversion becomes funny beyond any limits, luckily our smartphones have option to capture them as a snapshot. And that is exactly what all of the following people did in order for the rest of us to enjoy what are easily some of the funniest text messages you’ll ever lay your eyes on. So do not hesitate to grab your copy NOW! Go on. Read ’em and laugh. Enjoy