This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.

“When you first view Rose-Lynn Fisher’s photographs, you might think you’re looking down at the world from an airplane, at dunes, skyscrapers or shorelines. In fact, you’re looking at her tears. . . . [There’s] poetry in the idea that our emotional terrain bears visual resemblance to the physical world; that our tears can look like the vistas we see out an airplane window. Fisher’s images are the only remaining trace of these places, which exist during a moment of intense feeling—and then vanish.” —NPR “[A] delicate, intimate book. . . . In The Topography of Tears photographer Rose-Lynn Fisher shows us a place where language strains to express grief, longing, pride, frustration, joy, the confrontation with something beautiful, the confrontation with an onion.” —Boston Globe Does a tear shed while chopping onions look different from a tear of happiness? In this powerful collection of images, an award-winning photographer trains her optical microscope and camera on her own tears and those of men, women, and children, released in moments of grief, pain, gratitude, and joy, and captured upon glass slides. These duotone photographs reveal the beauty of recurring patterns in nature and present evocative, crystalline imagery for contemplation. Underscored by poetic captions, they translate the mysterious act of crying into an atlas mapping the structure and magnificence of our interior lives. Rose-Lynn Fisher is an artist and author of the International Photography Award-winning studies Bee and The Topography of Tears. Her photographs are exhibited in galleries, festivals, and museums across the world and have been featured by the Dr. Oz Show, NPR, Smithsonian, Harper’s, New Yorker, Time, Wired, Reader’s Digest, Discover, Brain Pickings, and elsewhere. She received her BFA from Otis Art Institute and lives in Los Angeles.

Clinical simulations provide school leaders with opportunities to enact and examine their leadership approaches, decisions, and policies, without consequence. Building on medical education’s use of standardized patients, this book introduces standardized individuals and clinical simulations into the field of school leader preparation. In live, one-to-one interactions, school leaders engage in variety of professional situations with standardized students, parents, teachers, and community members. Each carefully scripted standardized individual presents a problem of practice, while unscripted school leader participants are free to enact their own professional knowledge, dispositions, and decision-making approaches as they engage within a simulation. When confronted by an angry father (in simulation), leaders practice their explanations and policies surrounding challenged curriculum. When presented with an inebriated student (in simulation), leaders enact decision-steps associated with student discipline and communicating with health and law enforcement officials. When students and parents express concerns about classroom instruction, leaders engage with standardized teachers (in simulation) to focus on instructional quality. The thirteen simulations in this book address a broad range of complex, but common issues that school leaders encounter through daily service in K-12 schools. This book provides school leader educators and professional development facilitators with all the information necessary to fully implement clinical simulations for school leader development. Included are chapters on the concept of clinical simulations, training procedures for standardized individuals, logistical steps toward implementation, and the documents necessary to successfully facilitate thirteen different clinical simulations. NOTE: This book is designed for school leader educators and school district professional development personnel who intend to facilitate clinical simulations with cohorts of school leaders. School leaders who intend to participate in the actual simulations should consult the separate text: Clinical Simulations for School Leader Development: A Companion Manual for School Leaders.

The fascinating evolutionary links between six seemingly unremarkable traits that make us the very remarkable creatures we are. Countless behaviors separate us from the rest of the animal kingdom, but all of them can be traced one way or another to six traits that are unique to the human race-our big toe, our opposable thumb, our oddly shaped pharynx, and our ability to laugh, kiss, and cry. At first glance these may not seem to be connected but they are. Each marks a fork in the evolutionary road where we went one way and the rest of the animal kingdom went another. Each opens small passageways on the peculiar geography of the human heart and mind. Walter weaves together fascinating insights from complexity theory, the latest brain scanning techniques, anthropology, artificial intelligence, cognitive psychology, and robotics to explore how the smallest of changes over the past six million years - all shaped by the forces of evolution -- have enabled a primate once on the brink of extinction to evolve into a creature that would one day create all of the grand and exuberant edifices of human culture. As the story of each trait unfolds, Walter explains why our brains grew so large and complex, why we find one another sexually attractive, how toolmaking laid the mental groundwork for language, why we care about what others think, and how we became the creature that laughs and cries and falls in love. Thumbs, Toes and Tears is original, informative, and delightfully thought-provoking.

Tears and weeping are, at once, human universals and socially-constrained phenomena. This volume explores the interface between those two viewpoints by examining medical literature, sermons, and lyric poetry of the 16th and 17th centuries to see how dominant paradigms regarded who could, who must, and who must not weep. These paradigms shifted in some cases radically, during these centuries. Without a clear understanding of how the Renaissance 'read' tears, it is difficult to avoid using our own preconceptions -- often quite different and very misleading. There are five chapters; one on medical and scientific material, two on sermons, and two on different types of lyric.

Crying Men is a series of photographic portraits of famous film actors. Taylor-Johnson makes portraits of her subjects as actors; she shoots them in role, asking each to perform and cry for the camera and demands the actor's investment in the process. These are no passive sitters. Each of the resulting images is distinct; one actor recalls the hieratic clarity of a Byzantine saint whose tears appear decorative. Other images are of heroic crying where stoic restraint has broken down, there are some that display the voluptuous crying of medieval saints, there are images of cathartic crying, quiet tears of regret and grief, and yet whilst being moved by these intimate revelatory images we simultaneously know that the emotional display is being playacted. Sam Taylor-Johnson's film and photographic works are distinguished by their subversive creation of enigmatic situations full of latent but explosive energy. The portraits include Tim Roth, Gabriel Byrne, Laurence Fishburne, Woody Harrelson, Michael Gambon, Jude Law, Hayden Christiansen, Ryan Gosling, Robert Downey Jr., Paul Newman, Ed Harris, Benicio Del Toro, Willem Dafoe, and Kris Kristofferson.

Reproduction of the original: The Pictures; the Bethroning by Lewis Tieck

This bestselling "lyrical, moving book: part essay, part memoir, part surprising cultural study" is an examination of why we cry, how we cry, and what it means to cry from a woman on the cusp of motherhood confronting her own depression (The New York Times Book Review). Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it, even if they rarely talk about it. Along the way, she discovers an artist who designed a frozen–tear–shooting gun and a moth that feeds on the tears of other animals. She researches tear–collecting devices (lachrymatories) and explores the role white women’s tears play in racist violence. Honest, intelligent, rapturous, and surprising, Christle’s investigations look through a mosaic of science, history, and her own lived experience to find new ways of understanding life, loss, and mental illness. The Crying Book is a deeply personal tribute to the fascinating strangeness of tears and the unexpected resilience of joy.