successful life is not built on your ability to add, but on your ability to remove.After spending years judging my success (and others') on the volume of shiny objects I had, I realised that attaching happiness to material things - or even to a specific outcome, in fact - is a recipe for disaster. Obsessively chasing that next promotion or collecting designer watches might seem like the mark of a winner, but if you need to have something in your life in order for you to be happy - if you are attaching your happiness to external factors - you will always be searching for that next hit of dopamine. It's like an addiction: you're always chasing that first-ever feeling of euphoria, and the satisfaction you derive becomes less and less every time. It wasn't until I lost what I thought was everything - until my career and my material possessions were stripped away - that I claimed back my true values and gained clarity, perspective and gratitude for all that I had. I was forced into a position that made me see the world through a different set of eyes and appreciate the small pleasures in life. As a result of my own experience, I now see that it's the simplicity and fundamentals of life that hold true beauty. You don't need more, you need less. I'm not just talking in terms of material possessions. In today's world most of us are searching for a new tool, a new skill, more information, more knowledge - but everything we need is already inside of us. Under all the layers of fear and self-doubt, our true potential is already there, waiting for us to uncover it. It's not until we remove what's not serving us that we can see clearly what truly matters.As I set out on my own journey, I soon came to realise that the best things in life aren't things at all. They are people. They are experiences. It's time to unlearn everything that is false and unhelpful and make way for the real you to shine

Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.

Metalearning is the study of principled methods that exploit metaknowledge to obtain efficient models and solutions by adapting machine learning and data mining processes. While the variety of machine learning and data mining techniques now available can, in principle, provide good model solutions, a methodology is still needed to guide the search for the most appropriate model in an efficient way. Metalearning provides one such methodology that allows systems to become more effective through experience. This book discusses several approaches to obtaining knowledge concerning the performance of machine learning and data mining algorithms. It shows how this knowledge can be reused to select, combine, compose and adapt both algorithms and models to yield faster, more effective solutions to data mining problems. It can thus help developers improve their algorithms and also develop learning systems that can improve themselves. The book will be of interest to researchers and graduate students in the areas of machine learning, data mining and artificial intelligence.

“Ram Dass lived a full life and then some. His final statement is thorough and, yes, enlightening.” —Kirkus Reviews Perhaps no other teacher has sparked the fires of as many spiritual seekers in the West as Ram Dass. If you’ve ever embraced the phrase “be here now,” practiced meditation or yoga, tried psychedelics, or supported anyone in a hospice, prison, or homeless center—then the story of Ram Dass is also part of your story. From his birth in 1931 to his luminous later years, Ram Dass saw his life as just one incarnation of many. This memoir puts us in the passenger seat with the one-time Harvard psychologist and lifelong risk-taker Richard Alpert, who loved to take friends on wild rides on his Harley and test nearly every boundary—inner or outer—that came his way. Being Ram Dass shares his life’s odyssey in intimate detail: how he struggled with issues of self-identity and sexuality in his youth, pioneered psychedelic research, and opened the doorways to Eastern spiritual practices. In 1967 he trekked to India and met his guru, Neem Karoli Baba. He returned with a perspective on spirituality and psychology that changed millions. Featuring 64 pages of color photographs, this intimate memoir chronicles the cultural and spiritual transformations Ram Dass experienced that resonate with us to this day, a journey from the mind to the heart, from the ego to the soul. Before, after, and along these waypoints, readers will encounter many other adventures and revelations—each ringing with the potential to awaken the universal, loving divine that links us to this beloved teacher and all of us to each other.

Julietta Singh challenges the drive toward the mastery over self and others by showing how the forms of self-mastery advocated by anticolonial thinkers like Fanon and Gandhi unintentionally reproduced colonial logic, thereby leading her to argue for a more productive human subjectivity that is not centered on concepts of mastery.

This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.

Boyd's initial focus was a 193 slide summation of military history in the "Patterns of Conflict" brief and his effort soon expanded dramatically. His insights led him to introduce the theory of maneuver warfare as critical to military success in general, as it had been for successful air-to-air tactics where his intellectual journey began. His study and thought led him to produce a series of other briefings. They included a 37 slide briefing entitled "An Organic Design for Command and Control," a 58-slide briefing entitled "The Strategic Game of ? and ?," a 27-slide briefing entitled "The Conceptual Spiral," and one of the few essays he ever wrote called "Destruction and Creation." The larger "Discourse" ends with his summation entitled "Revelation." To this is added a four slide brief on "The Essence of Winning and Losing" produced on 28 June 1995. It is an effort to compress all that he had learned into a simple, yet elegant and comprehensive, conclusion embedded in his concept of O-O-D-A Loops, what they mean and why they are important.--Provided by publisher.

The stages of the creative process—from “unlearning” to beginning again—seen through examples from the practice of artists, architects, poets, and others. Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer's block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process. Leski sees the creative process as being like a storm; it slowly begins to gather and take form until it overtakes us—if we are willing to let it. It is dynamic, continually in motion; it starts, stops, rages and abates, ebbs and flows. In illustrations that accompany each chapter, she maps the arc of the creative process by tracing the path of water droplets traveling the stages of a storm. Leski describes unlearning, ridding ourselves of preconceptions; only when we realize what we don't know can we pose the problem that we need to solve. We gather evidence—with notebook jottings, research, the collection of objects—propelling the process. We perceive and conceive; we look ahead without knowing where we are going; we make connections. We pause, retreat, and stop, only to start again. To illustrate these stages of the process, Leski draws on examples of creative practice that range from Paul Klee to Steve Jobs, from the discovery of continental drift to the design of Antoni Gaudí's Sagrada Familia. Creativity, Leski tells us, is a path with no beginning or end; it is ongoing. This revelatory view of the creative process will be an essential guide for anyone engaged in creative discovery. The Creative Process Unlearning Problem Making Gathering and Tracking Propelling Perceiving and Conceiving Seeing Ahead Connecting Pausing Continuing

The essays in this book, written by researchers from both humanities and science, describe various theoretical and experimental approaches to adding medical ethics to a machine, what design features are necessary in order to achieve this, philosophical and practical questions concerning justice, rights, decision-making and responsibility in medical contexts, and accurately modeling essential physician-machine-patient relationships. In medical settings, machines are in close proximity with human beings: with patients who are in vulnerable states of health, who have disabilities of various kinds, with the very young or very old and with medical professionals. Machines in these contexts are undertaking important medical tasks that require emotional sensitivity, knowledge of medical codes, human dignity and privacy. As machine technology advances, ethical concerns become more urgent: should medical machines be programmed to follow a code of medical ethics? What theory or theories should constrain medical machine conduct? What design features are required? Should machines share responsibility with humans for the ethical consequences of medical actions? How ought clinical relationships involving machines to be modeled? Is a capacity for empathy and emotion detection necessary? What about consciousness? This collection is the first book that addresses these 21st-century concerns.