Living pens an in-depth look at how to understand oneself and how one operates in this energetic environment--how the heart-mind-brain team manipulates the nervous-muscular system to signal responses.

"Cold War paranoia can only partly describe or explain the 20th century dreams of telepathy. The nightmare shades of mind control and crowd frenzy have long alternated with the pastels of love and collective effervescence. Both extremes materialized over time, along tangled circuits of wars, events and interactions staged across borders since at least the 19th century. The Cold War and its fences fed fascination with the workings and the failures of contact and communication. Opposed sides accused each other of jamming media and spinning propaganda even while they mirrored fantasies of connection. This book contrasts and connects Russian and American channels and means to check channels, with special attention to intersections of the telepathic with the theatrical. It theorizes links between historically layered struggles over technologies for intuition and dominant models of communication, commonsense or theoretical. It demonstrates that theories resting on models of individual sincerity and of dyadic communication warp understandings of the USSR and Russia--and thus of the USA, as well. It proposes that attention to the means of making and checking contact, that is, to the phatic functions in language, offers a way out of the impasses and paradoxes of paranoia"--Provided by publisher.

The term, "intuition," while commonly used by artists has been somewhat marginalized within art theory and criticism. Whether sensed as a gut feeling or a flash of insight, intuition is central to processes of "coming to know" in aesthetic practice and experience. Many artists habitually rely on extra-rational means of understanding, either in the form of everyday instinct or uncanny cognition. A delicate balance, though, exists between clairvoyance and fantasy, foreknowledge and wishful thinking. Technologies of Intuition demonstrates how artistic sensitivity requires disciplined and cultivated perception. Set in continuity with the compelling history of the Spiritualist Movement and emancipatory feminism, this anthology elucidates intuitive agency as a psychic, somatic and social technology in the fine arts and popular culture.

This collection interrogates the interaction between new technologies and performance practice, linking the sensuous contact that must exist between the physical and virtual, together with the resultant corporeal transformation. It features writings from international contributors who specialize in digital art and performance practices.

This volume focuses on the advances in the Science, Technology, Higher Education, Society in the Conceptual Age, which are a critical aspect in the design of any technological system. The ideas and practical solutions described in the book are the outcome of dedicated research by academics and practitioners aiming to advance theory and practice in this dynamic and all-encompassing discipline. This book highlight new research in different fields for which the upcoming Conceptual Age is a common point. Leading researchers will continue to provide new ideas and guidance for those involved in creating contemporary and future conditions in the field of higher education, social sciences and new technologies. Research papers formed in various areas including psychology, management, life sciences, ergonomics and higher education issues.

Professor Joan Woodward, one of the founding figures of organization studies, died in 1971 at the age of 54 after a relatively brief but highly distinguished career as a management researcher and teacher, and just six years after the publication of her book "Industrial Organization".

This edited volume explores the interplay between philosophies in a wide-ranging analysis of how technological applications in science inform our systems of thought. Beginning with a historical background, the volume moves on to explore a host of topics, such as the uses of technology in scientific observations and experiments, the salient relationship between technology and mechanistic notions in science and the ways in which today’s vast and increasing computing power helps scientists achieve results that were previously unattainable. Technology allows today’s researchers to gather, in a matter of hours, data that would previously have taken weeks or months to assemble. It also acts as a kind of metaphor bank, providing biologists in particular with analogies (the heart as a ‘pump’, the nervous system as a ‘computer network’) that have become common linguistic currency. This book also examines the fundamental epistemological distinctions between technology and science and assesses their continued relevance. Given the increasing amalgamation of the philosophies of science and technology, this fresh addition to the literature features pioneering work in a promising new field that will appeal both to philosophers and scientific historiographers.

The Handbook Philosophy of Technology and Engineering Sciences addresses numerous issues in the emerging field of the philosophy of those sciences that are involved in the technological process of designing, developing and making of new technical artifacts and systems. These issues include the nature of design, of technological knowledge, and of technical artifacts, as well as the toolbox of engineers. Most of these have thus far not been analyzed in general philosophy of science, which has traditionally but inadequately regarded technology as mere applied science and focused on physics, biology, mathematics and the social sciences. - First comprehensive philosophical handbook on technology and the engineering sciences - Unparalleled in scope including explorative articles - In depth discussion of technical artifacts and their ontology - Provides extensive analysis of the nature of engineering design - Focuses in detail on the role of models in technology