The final will and testament of Roger, Hari's oldest friend. Roger is willing to die, but will his secret knowledge die with him?

Popular Mechanics inspires, instructs and influences readers to help them master the modern world. Whether it’s practical DIY home-improvement tips, gadgets and digital technology, information on the newest cars or the latest breakthroughs in science -- PM is the ultimate guide to our high-tech lifestyle.

Describes why secondary students don't read, and offers teachers practical advice and strategies for developing depth, stamina, and passion in adolescent readers.

The Model Rules of Professional Conduct provides an up-to-date resource for information on legal ethics. Federal, state and local courts in all jurisdictions look to the Rules for guidance in solving lawyer malpractice cases, disciplinary actions, disqualification issues, sanctions questions and much more. In this volume, black-letter Rules of Professional Conduct are followed by numbered Comments that explain each Rule's purpose and provide suggestions for its practical application. The Rules will help you identify proper conduct in a variety of given situations, review those instances where discretionary action is possible, and define the nature of the relationship between you and your clients, colleagues and the courts.

A paradox of surface and depth pervades the field of aesthetics. How can art's surface meanings and qualities be properly appreciated without understanding the cultural context that shapes their creation and perception? But exploring such underlying cultural conditions challenges the perception of thosequalities and meanings of aesthetic surface that constitute the captivating power of art. If aesthetics deals with both surface and depth, impassioned immediacy yet also critical distance of judgment, how can this doubleness be held together in one philosophical vision?In his new book, Richard Shusterman explores the dialectics of surface and depth by examining key issues in the philosophy of art and culture—from the logic of interpretation and evaluation to the roots of taste and convention, from the meanings of aesthetic purity and immediacy to the role of nature, theory, and history in our experience and understanding of art. In treating these topics, Shusterman combines the methods of analytic philosophy, critical theory, and poststructualism to arrive at new positions, displaying the philosophical versatility, originality of vision, and graceful, accessible writing that have become his trademark. Surface and Depth is crowned by a new definition of art as dramatization.

This book addresses an existing gap in academic arts-based research, whereby, rather than exploring music as an effective therapeutic intervention, it is explored as the central medium or tool of inquiry. Integrating heuristic, hermeneutic, and arts-based grounded theory methodologies, the book conceptualizes and describes the practice of Sonic Stretching as an in-depth example of using sound as an effective and systematic research tool. Stemming from evidence-based insights, the book explores and explains ways in which music and sound can be utilized in arts-based research (ABR) in all disciplines, as opposed to only being used among professional musicians and those operating within music studies. It points to some of the obstacles that have previously prevented this from happening more broadly and, in doing so, aims to help bridge the conspicuous gap in ABR studies, where music and sonic imagination should be. Offering a clear and well-presented example for integrating music and sound into processes of depth psychological inquiry and addressing the impact of colonialization upon embodied knowledge in music and academic research, it will appeal to scholars and researchers working at the intersection of psychology, music studies, education, social justice, and research methods.

This volume explores an underappreciated feature of the standard Tiberian Masoretic tradition of Biblical Hebrew, namely its composite nature. Focusing on cases of dissonance between the tradition’s written (consonantal) and reading (vocalic) components, the study shows that the Tiberian spelling and pronunciation traditions, though related, interdependent, and largely in harmony, at numerous points reflect distinct oral realisations of the biblical text. Where the extant vocalisation differs from the apparently pre-exilic pronunciation presupposed by the written tradition, the former often exhibits conspicuous affinity with post-exilic linguistic conventions as seen in representative Second Temple material, such as the core Late Biblical Hebrew books, the Dead Sea Scrolls, Ben Sira, rabbinic literature, the Samaritan Pentateuch, and contemporary Aramaic and Syriac material. On the one hand, such instances of written-reading disharmony clearly entail a degree of anachronism in the vocalisation of Classical Biblical Hebrew compositions. On the other, since many of the innovative and secondary features in the Tiberian vocalisation tradition are typical of sources from the Second Temple Period and, in some cases, are documented as minority alternatives in even earlier material, the Masoretic reading tradition is justifiably characterised as a linguistic artefact of profound historical depth.