Minggu, 28 Februari 2010

[E545.Ebook] Download Ebook How the Body Shapes the Mind, by Shaun Gallagher

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How the Body Shapes the Mind, by Shaun Gallagher

How the Body Shapes the Mind is an interdisciplinary work that addresses philosophical questions by appealing to evidence found in experimental psychology, neuroscience, studies of pathologies, and developmental psychology. There is a growing consensus across these disciplines that the contribution of embodiment to cognition is inescapable. Because this insight has been developed across a variety of disciplines, however, there is still a need to develop a common vocabulary that is capable of integrating discussions of brain mechanisms in neuroscience, behavioral expressions in psychology, design concerns in artificial intelligence and robotics, and debates about embodied experience in the phenomenology and philosophy of mind. Shaun Gallagher's book aims to contribute to the formulation of that common vocabulary and to develop a conceptual framework that will avoid both the overly reductionistic approaches that explain everything in terms of bottom-up neuronal mechanisms, and inflationistic approaches that explain everything in terms of Cartesian, top-down cognitive states.

Gallagher pursues two basic sets of questions. The first set consists of questions about the phenomenal aspects of the structure of experience, and specifically the relatively regular and constant features that we find in the content of our experience. If throughout conscious experience there is a constant reference to one's own body, even if this is a recessive or marginal awareness, then that reference constitutes a structural feature of the phenomenal field of consciousness, part of a framework that is likely to determine or influence all other aspects of experience. The second set of questions concerns aspects of the structure of experience that are more hidden, those that may be more difficult to get at because they happen before we know it. They do not normally enter into the content of experience in an explicit way, and are often inaccessible to reflective consciousness. To what extent, and in what ways, are consciousness and cognitive processes, which include experiences related to perception, memory, imagination, belief, judgment, and so forth, shaped or structured by the fact that they are embodied in this way?

  • Sales Rank: #133043 in Books
  • Published on: 2006-12-07
  • Released on: 2006-12-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.10" h x .80" w x 9.20" l, 1.01 pounds
  • Binding: Paperback
  • 224 pages

Review

"Indeed, many researchers will wish they had had this volume before publishing their own work, not because it presents startling new findings that will undermine what has come before, but because the work is so precise, and lays out the terrain so clearly, that it is now possible to see what should have been said all along."--Philosophical Psychology


About the Author

Shaun Gllagher teaches in the Department of Philosophy at the University of Central Florida.

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30 of 31 people found the following review helpful.
A sweet and sour blend of technical writing and great prose: not for the uneducated.
By Joseph Conn
To begin, I must state: Buyer Beware. This text is involved and difficult to follow if you lack background in the field, be it even a class in university. I am currently taking a class that overviews subjects presented herein, and it seems if I were not I would only understand the book on a superficial level. With that said, How the Body Shapes the Mind is definitely a must-read for anyone interested in neuroscience, neuropsychology, and any related fields. The author spends a lot of time propping up popular or controversial interdisciplinary concepts from body image to the interconnectivity of the senses to free will itself and deftly taking them apart, rearranging them, and finding wholly new and interesting points of view. The book takes fields as varied as psychology, neurophysiology, and philosophy and weaves a web of facts, studies, and logic to present the author's viewpoint on a number of issues throughout the cognitive sciences and beyond to the philosophy of the mind.

I admit, there are moments in the book where I worried, "why is this book titled `How the Body Shapes the Mind'?" It felt like Gallagher was jumping from topic to disparate topic, with only certain chapters or sections actually pertaining to this overarching theme. However, by the end of each chapter, Gallagher masterfully and with genius execution brings each section into the whole.

The book is set up thematically into two Parts, which are subdivided into Chapters with sub-sections.
First, Gallagher delves into the realm of proprioception and revisits age old topics of body image and body schema. He also presents surprisingly insightful ideas on the nature of language and gestures. In my opinion this part held the most meat (empirical backing), taking two terms with convoluted meanings, and defining them in explicit and logical ways such that he can build and base further information in the book upon it.

To merely define is not enough, according to Gallagher, one must also explain how and why. The author spends a major section of his text describing in absolute detail, often referring back to prior sections in a way that may be defined by some as excessively self-referential (perhaps not to the level of an "infinite regress", but close) , the ontological precepts of body schema and body image. This is an admirable way to present information, which presents it in a clear manner which he juxtaposes against extensive research and academic thought. This skillful presentation gives the author sufficient freedom to present new ideas without being hung up on the complications of necessarily testing all aspects of it.

Part 2 of the book leaves the realm of empirical research almost entirely, and focuses primarily philosophy and pathology. Gallagher successfully represents the text in the title. Every chapter leads further into how the body shapes the mind. By the end, the weight of all text bears down on the reader, suffocating them under the breadth and width of the discussion. The text becomes at times tedious, while at others interesting and refreshing. Most of this is due to writing style. The author is a very thorough writer to such an extent that the reader may be bogged down in the details, searching for the final point of the section.

The final chapters of the book take philosophical concepts such as Theory of the Mind and free will. It then takes these concepts, and argues successfully against all prevailing (presented) viewpoints. The deftness of the writing should be applauded. If there ever were a hole or weak spot in the author's own argument, it is exposed, poked, and prodded in kind with the rest. Having no background in either topic, these sections were of particular interest for their introduction into the concepts, and then subsequent explanation of the body-mind duality and interactions which subsist between them.

As books go, this book is information dense, and definitely food for thought. The sections are ordered in such a manner that one creates a foundation for the next, and information flows bi-directionally, yet smoothly between chapters. The book will change your perspective on how you individually interact with the world, and will make you consider every action, thought, and movement with a new perspective. This book would have been one of those that simply cannot be put down until the end for me, except the flow and ease of reading were interrupted by two things. One, as mentioned earlier, is the distracting level of self-reference to other sections of the book, and the information provided therein. There are one or two studies in that book which were mentioned in sufficient detail to stand alone four or five times. Gallagher's habit of doing this may convince you to skim. Be careful, though, as new points interspersed or at the end of the reiteration may be missed. Second is Gallagher's ubiquitous use of footnotes. Personally, footnotes destroy the flow of a narrative, and make it difficult to keep track of the point throughout a monologue. Worse yet, the footnotes in this text can extend over a couple of pages, and often present lots of information that is integral to the actual book itself, so they cannot be skipped successfully.

Though the book is set up with architectural precision, and a distinctly scientific bend and tone, Gallagher allows himself some artistry. One poetic example from the book: "The body generates a gestural expression. It is, however, another person who moves, motivates, and mediates this process. To say that language moves my body is already to say that other people move me." Read it yourself to find the other gems.

In summary: read this book if the title interests you. The book covers exactly what it says it covers. If you like footnotes, and the character they bring to this book: enjoy. Otherwise I recommend reading them after you've gone through a section. You will find the book much more readable, and thus enlightening. If you don't have $30, hope that they lower the price down to a more reasonable level, it is definitely worth to buy if you can afford it.

8 of 12 people found the following review helpful.
The most important book yet written on cogition, embodiment, development, and sociality.
By John Townsend
Shaun Gallagher's How the Body Shapes the Mind serves as the gold standard for lucidity and persuasiveness of argument in the cognitive sciences and philosophy of mind. This work focuses on embodiment and its essential role in informing and constraining mind(s).

If you're looking for a book which covers, in depth, all of the essential topics, while providing a rigorous, clear, and often times quite entertaining conceptual framework for thinking about the mind, this is your best bet.

14 of 35 people found the following review helpful.
Good technical presentation
By Mark Dubin
This book is aimed mainly at workers in the field and in related aspects of brain functioning. It is solid, important and well worth reading.

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Selasa, 23 Februari 2010

[S335.Ebook] Ebook Free British Aircraft Carriers 1939-45 (New Vanguard), by Angus Konstam

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British Aircraft Carriers 1939-45 (New Vanguard), by Angus Konstam

In August 1917, at the height of the First World War, a small biplane landed on the makeshift flight deck of HMS Furious - the first ever carrier landing in aviation history. This small act ushered in a new era. Two decades later, when Britain stood on the brink of another World War, the Royal Navy had a small fleet of aircraft carriers, with several more nearing completion. When war came the newly-formed Fleet Air Arm would demonstrate that what it lacked in modern equipment, it made up for in skill and daring.

The first of these carriers were converted from existing ships. Then in 1938 HMS Ark Royal was launched - Britain's first purpose built carrier. Its design set the standard for what was to come. The "Ark" was followed by the highly successful Illustrious Class, and then by others whose design was modified in the light of wartime experience. British fleet carriers had steel flight decks, and although smaller and able to carry less aircraft that the carriers seen in the Pacific, they were better suited to conditions in European waters. It also meant they were more resilient, and could shrug off damage that would cripple their American counterparts.

Over the next six years these British aircraft carriers would launch attacks against a major Italian naval base, attack the Italian battle fleet on the high seas, and cripple the Bismarck, so that the battleships of the Home Fleet could overtake her. They would also see service in every theatre of war, including the Pacific. Inevitably, their success came at a price. Courageous, Eagle and Ark Royal were torpedoed by U-Boats, Glorious was sunk by the guns of a German battlecruiser, and Hermes was lost to Japanese bombs. Most of the rest of the carrier fleet were damaged to some extent during their service lives, but they survived and kept on fighting.

This New Vanguard title tells the story of these remarkable warships, and reveals the secrets of their design, how they operated, and above all, what they achieved.

  • Sales Rank: #1317794 in Books
  • Published on: 2010-07-20
  • Released on: 2010-07-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.91" h x .13" w x 7.20" l, .37 pounds
  • Binding: Paperback
  • 48 pages

Review

“This excellent survey of the craft's capabilities is a must for any in-depth military, aircraft or World War II collection!” ―The Midwest Book Review (October 2010)

“An excellent book on a most interesting subject and one that I am positive you will find to be of interest. One that will be pulled from the shelves time after time and one I can highly recommend to you.” ―Scott Van Aken, Modeling Madness

About the Author

Angus Konstam is an acclaimed military and naval historian, and one of Osprey's most experienced and respected authors, with over 35 titles in print. These Osprey titles include British Battlecruisers 1939-45, British Motor Torpedo Boats 1939-45, and the forthcoming two-volume study; British Battleships 1939-45, all of which form part of the New Vanguard list. Other titles include Spanish Armada 1588, Pirates, British Forts in the Age of Arthur and Piracy: The Complete History. He has also written over two dozen larger books for other publishers.

A former naval officer, underwater archaeologist and maritime museum curator, Angus has a long and passionate love affair with the sea, maritime history and warships. He makes regular television and radio appearances, and has held events at the Edinburgh International Book Festival. Angus is now a full-time writer and historian, as well as being a board member of the Society of Authors, and Publishing Scotland. He currently lives in Edinburgh.

For more details visit the author's website at www.anguskonstam.com The author lives in Edinburgh, Scotland.

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3 of 3 people found the following review helpful.
British WWII Carriers
By Stone Dog
This New Vanguard #168 is a good overview of British carriers that participated in WWII. Author Angus Konstam provides a fairly good chronicle of British carriers as they evolved and were employed in WWII.

The author begins the story in WWI when the Royal Navy led the way in naval aviation. The earliest carriers were battleships or cruisers with makeshift decks above the forward turrets and, sometimes, the aft turrets. After experience showed these hybrids to be dangerous, they altered hulls to make the first "true" carriers with a flight deck that was the length of the craft.

Konstam then delves into the interwar period in which warship design was constrained by naval treaties. Even as the US Navy converted two battlecruiser hulls into the Lexington and Saratoga and the Japanese converted a hull into Akagi, the British converted existing hulls into carriers. As war clouds darkened in Europe, the Royal Navy planned purpose built ships that became the Illustrious class carriers. All weapons design is a tradeoff in attributes and this new class carriers would trade capacity in terms of number of aircraft for armored protection. In this era, the Royal Navy made the decision that instead of carrying enough fighters to protect their carrier, they would simply button up and depend solely on AA guns and the ships' own armor to defeat an enemy attack.

Although the British carriers were certainly better protected than their American or Japanese counterparts, they could carry far fewer aircraft. The Illustrious class was restricted to only 36 aircraft (not including a deck park) while American and Japanese carriers could carry 70-100. The author delves into British designs for ships planned during the war, but finished after hostilities ceased. I would point out that this book does not cover escort carriers for the simple reason that they were not British - the RN employed American escort carriers provided under Lend Lease and would not apply to this book.

I think the author covers a lot of ground quite well if you consider that this type book can only serve as an overview. I would have liked the author to mention aircraft since the RN had only obsolete or unsuitable types and had to rely on American Lend Lease Avengers, Wildcats, Hellcats and Corsairs for the majority of their carrier aircraft by the end of the war.

This book does a decent job of introducing the reader to WWII Royal Navy carriers and I recommend it to those interested with four stars.

2 of 2 people found the following review helpful.
Good BRIEF history of British aircraft carriers.
By J. C. Bednar
This a very good and BRIEF history of WWII era British aircraft carriers. Booklet is about 48 pages long and enough information about each aircraft carrier covered. The first section of booklet describes the advent of carrier-based aircraft, developments, tactics, ships, etc. are discussed. The various classes of FLEET carriers that participated in the war are also described, as well as their plus & minus.

There are color plates of various ships, and plenty of black & white photos - at least 1 photo per each carrier described.

Operational histories and final outcome of each carrier that saw action in the war is given as well.

Overall, a very good booklet. It is what I wanted and expected - a BRIEF history of British carriers. Excellent resource for modelers. Ordered via Amazon and everything arrived in great condition and a few days before expected.

14 of 20 people found the following review helpful.
British Aircraft Carriers 1939-1945
By Michael E. Stiles
A little disappointed in content...or perhaps I should say, lack of content. Good book for fleet carriers and light fleet carriers, but their was no information concerning escort, assault, or strike carriers. The name of the book is British Aircraft Carriers...not British Fleet Carriers, so I believe the lack of any data concerning the escort, assault, and strike carriers makes the title misleading. Yet, it could have been so easy to correct such an oversight if only Osprey had knowledgable editors.

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Rabu, 17 Februari 2010

[S956.Ebook] Get Free Ebook Entrepreneurship in the Balkans: Diversity, Support and ProspectsFrom Brand: Springer

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Entrepreneurship in the Balkans: Diversity, Support and ProspectsFrom Brand: Springer

This book represents a comprehensive state-of-the-art picture of entrepreneurship and small business management issues in the Balkans region. It provides major theoretical and empirical evidence that offers a brighter view of these fields and aims to open up opportunities for greater dialogue in public policy. The readers would�be able to enhance their knowledge on small businesses and innovation issues in the Balkans.�An outcome of a long lasting endeavour, this book includes contributions�of highly reputed authors and experts from the Balkans’ countries.�Features forewords by two well-known�personalities of this field, Leo Paul Dana and Alain Fayolle.​

  • Sales Rank: #1748221 in Books
  • Brand: Brand: Springer
  • Published on: 2013-05-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x .94" w x 6.14" l, 1.66 pounds
  • Binding: Hardcover
  • 377 pages
Features
  • Used Book in Good Condition

From the Back Cover
This book represents a comprehensive state-of-the-art picture of entrepreneurship and small business management issues in the Balkans region. It provides major theoretical and empirical evidence that offers a brighter view of these fields and aims to open up opportunities for greater dialogue in public policy. The readers would�be able to enhance their knowledge on small businesses and innovation issues in the Balkans.�An outcome of a long lasting endeavour, this book includes contributions�of highly reputed authors and experts from the Balkans’ countries.�Features forewords by two well-known�personalities of this field, Leo Paul Dana and Alain Fayolle.​

About the Author

Veland Ramadani, PhD, is an assistant professor at South-East European University -Republic of Macedonia, where he teaches both undergraduate and postgraduate courses in Entrepreneurship and Small Business Management. His research interests include entrepreneurship, small business management and venture capital investments. He authored around thirty-five research articles. He is author of six textbooks on Small Business, Entrepreneurship and Venture Capital. He serves as a member of editorial and reviewer boards of several international journals. Currently, he is engaged by The President of Republic of Macedonia, as a member of experts’ committee to analyze the economical, technological and juridical conditions for establishing techno-parks in the Republic of Macedonia. Additionally, he offers training programs at the Macedonian Ministry of Economy.

Robert C. Schneider, EdD, is a professor of sport management and sport management program coordinator at The College at Brockport, State University of New York. Robert’s research interests include but are not limited to sport entrepreneurialism, organizational sport leadership, and ethics of sport management. An Avid basketball fan and former college coach, Dr. Schneider is the sole author of two research-oriented textbooks and has authored 71 peer-reviewed journal articles, book chapters, and has given 117 presentations worldwide, spanning across 12 countries. Dr. Schneider serves as a reviewer on 9 editorial boards of reputed sports management journals. In 2010 Dr. Schneider received the highest scholarship award granted from the State University of New York (SUNY) system: The Chancellor’s Award for Excellence in Scholarship/Creative Activity.

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Rabu, 10 Februari 2010

[V278.Ebook] PDF Download Stories of Art, by James Elkins

PDF Download Stories of Art, by James Elkins

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Stories of Art, by James Elkins

Stories of Art, by James Elkins



Stories of Art, by James Elkins

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Stories of Art, by James Elkins

Stories of Art is James Elkins's intimate history of art. Concise and original, this engaging book is an antidote to the behemoth art history textbooks from which we were all taught. As he demonstrates so persuasively, there can never be one story of art. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. But each of us also has our own story of art, a kind of private art history made up of the pieces we have seen, and loved or hated, the effects they had on us, and the connections that might be drawn among them.

Elkins opens up the questions that traditional art history usually avoids. What about all the art not produced in Western Europe or in the Europeanized Americas? Is it possible to include Asian art and Indian art in ‘the story?’ What happens when one does? To help us find answers, he uses both Western and non-Western artworks, tables of contents from art histories written in cultures outside the centre of Western European tradition, and strangely wonderful diagrams of how artworks might connect through a single individual. True multiculturalism may be an impossibility, but art lovers can each create a ‘story of art’ that is right for themselves.

  • Sales Rank: #666398 in Books
  • Published on: 2002-09-29
  • Released on: 2002-10-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .44" w x 5.50" l, .50 pounds
  • Binding: Paperback
  • 192 pages

From Booklist
Intrepid, personable, and prolific art historian Elkins shifts his keen gaze from art to art history in this surefooted and amiable disquisition on how the story of art has been told, and why. Elkins assesses the standard text in the field, E. H. Gombrich's often revised The Story of Art, and the vision it promotes of art history as an orderly, chronological progression toward the pinnacle of art, "naturalistic skill," which the moderns then abandoned. Elkins dissects the many pitfalls of this simplistic approach, and envisions provocative alternatives, all the while musing on how to address the many tricky questions art historians confront, especially the challenge of how to integrate non-Western art into the story of Western art, and how to answer urgent questions about race, gender, sexuality, and even language itself. Elkins' smart, knowledgeable, original, and engaging multicultural analysis ultimately celebrates the ongoing conflict between art, which often seeks to defy categorization, and our desire for order and definition, all the while recognizing this irresolvable debate is a wellspring for fresh perspectives on the crucial and fascinating story of creative expression. Donna Seaman
Copyright � American Library Association. All rights reserved

Review
"Using sketches of his own and those of his students to illustrate alternatives to the standard chronology of the historical time line, Elkins proposes a number of throught-provoking ways to organize the stories of art that are not based on a strict adherence to dates, many of which can only be surmised."
-Kirkus Review, August 1, 2002
"Eminently readable and at times outright fun, Stories of Art is a terrific and transparent meditation on what's at stake in the histories of art we all so glibly recite. Instead of writing yet another survey, James Elkins provides the little counter-narrative that rubs up against the monumental survey volumes with a kind of graceful annoyance. The little buzzing bee that worries the elephant."
-Michael Ann Holly, Clark Art Institute
"A much needed, thoughtful, and intelligent reflection on the disciplinary status and cultural function of the history of art. Stories of Art is an invaluable aid in articulating the hidden agenda that informs art history as it is currently constituted, and an indispensable addition to our increasingly self-aware art historical enterprise."
-Keith Moxey, author of The Practice of Persuasion: Paradox and Power in Art History

About the Author
James Elkins is Professor of Art History at the School of the Art Institute of Chicago. He is the author of many books. Among is books are Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge.

Most helpful customer reviews

0 of 1 people found the following review helpful.
informative but dry
By jen
Great book on why we do art history and where it comes from. Very informative and answers questions about categorizing, whilst challenging us with current issues.

0 of 1 people found the following review helpful.
Love it.
By C to the A
Very interesting. It made me think again about the history of art. We are 'trained' to think a certain way...this book offers a healthy alternative.

4 of 8 people found the following review helpful.
Excellent Read
By art junky
I would highly recommend this book to students and instructors of art history.

Elkins succeeds in encouraging readers to have active thoughts about how the practice of art history is being shaped by art-survey texts. In he confronts the disappointments and limitations that these widely used publications bring about by furthering contemplation on their purpose, their beginnings, and their future.

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Jumat, 05 Februari 2010

[F821.Ebook] Download PDF ICSA Company Secretary's Handbook, by Douglas Armour

Download PDF ICSA Company Secretary's Handbook, by Douglas Armour

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ICSA Company Secretary's Handbook, by Douglas Armour

ICSA Company Secretary's Handbook, by Douglas Armour



ICSA Company Secretary's Handbook, by Douglas Armour

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ICSA Company Secretary's Handbook, by Douglas Armour

Additional checklists and quick reference material are available in the handbook's companion volume, The ICSA Company Secretary's Checklists, also by Douglas Armour and published by ICSA Publishing.

  • Published on: 2004-11-24
  • Original language: English
  • Binding: Paperback
  • 491 pages

About the Author
Douglas Armour FCIS is a Partner of David Venus & Company, a firm of Chartered Secretaries specialising in company law, corporate compliance, share registration and health & safety solutions and advice for directors, company secretaries, shareholders and their advisers. He has a wealth of experience of all aspects of company secretarial procedures and acts as company secretary for a wide range of public and private companies.

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