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A young bunny goes to sleep and dreams of the soothing colors, shapes, sights and sounds of nature.
About how, with the advent of a dream, life is filled with bright colors. Someday a dream comes into the life of each of us, but we are afraid to accept it, we are afraid to accept our real ourselves, so as not to disappoint others. But will we ultimately be happy in adjusting to others?
In the years since Daniel Dennett's influential Consciousness Explained was published in 1991, scientific research on consciousness has been a hotly contested battleground of rival theories—"so rambunctious," Dennett observes, "that several people are writing books just about the tumult." With Sweet Dreams, Dennett returns to the subject for "revision and renewal" of his theory of consciousness, taking into account major empirical advances in the field since 1991 as well as recent theoretical challenges. In Consciousness Explained, Dennett proposed to replace the ubiquitous but bankrupt Cartesian Theater model (which posits a privileged place in the brain where "it all comes together" for the magic show of consciousness) with the Multiple Drafts Model. Drawing on psychology, cognitive neuroscience, and artificial intelligence, he asserted that human consciousness is essentially the mental software that reorganizes the functional architecture of the brain. In Sweet Dreams, he recasts the Multiple Drafts Model as the "fame in the brain" model, as a background against which to examine the philosophical issues that "continue to bedevil the field." With his usual clarity and brio, Dennett enlivens his arguments with a variety of vivid examples. He isolates the "Zombic Hunch" that distorts much of the theorizing of both philosophers and scientists, and defends heterophenomenology, his "third-person" approach to the science of consciousness, against persistent misinterpretations and objections. The old challenge of Frank Jackson's thought experiment about Mary the color scientist is given a new rebuttal in the form of "RoboMary," while his discussion of a famous card trick, "The Tuned Deck," is designed to show that David Chalmers's Hard Problem is probably just a figment of theorists' misexploited imagination. In the final essay, the "intrinsic" nature of "qualia" is compared with the naively imagined "intrinsic value" of a dollar in "Consciousness—How Much is That in Real Money?"
Gemmy's Dreams is a fictional novel that tells of a family's day-to-day life on a small farm in eastern North Carolina. It is the third book in a series about the Lister family. Gemmy's Dreams continues the story where the second book, Life on Heartsville Farm, ends. The Listers have established a good life in the rural community of Heartsville. They have found a community that has accepted them without prejudices. The story unfolds in the mid-1950s and is told mostly through the eyes of one of the young Lister girls. Complications of family dynamics continues to place roadblocks in their lives that must be resolved, altered, or accepted. Gemmy and four of the Lister children are rejected by their paternal grandmother because they are part Cherokee. The paternal grandmother is from the Tuscarora tribe and considers the Cherokee tribe as inferior and enemies of her people. The Listers rely on faith and God's promises to navigate through the life that God has given them. Detailed are how the people that God places in the children's lives work to fill the void left by relatives that refuse to accept the Lister children. The children choose people to fill some of the holes in their hearts left by the lack of interest of others. Highlighted are the people that cross paths with the family. Gemmy has a history of having prophetic dreams that come to fruition. Gemmy considers these dreams a blessing when a good future is predicted. She considers them a curse when the dreams foretell of sadness or misfortune. These dreams cause Gemmy a great deal of stress as she watches them fulfill in her life and the lives of her family members. The Listers seek God's strength and guidance to lead them through their hardships and struggles. Deaths, family illnesses, and hurricane damages threaten to destroy the family's life on the farm. They have loving and supportive friends and neighbors that help them through their challenges. The Lister children learn that knowing how not to act is just as important as knowing how to act.
Giving you full of emotions, Makala Taylor takes you there with her empowering, encouraging, and powerful poetry. Taking you from fantasy to reality. All the while giving you beautiful nightmares...sweet dreams.
There are more crows now than ever. Their abundance is both an indicator of ecological imbalance and a generous opportunity to connect with the animal world. Crow Planet reminds us that we do not need to head to faraway places to encounter "nature." Rather, even in the suburbs and cities where we live we are surrounded by wild life such as crows, and through observing them we can enhance our appreciation of the world's natural order. Crow Planet richly weaves Haupt's own "crow stories" as well as scientific and scholarly research and the history and mythology of crows, culminating in a book that is sure to make readers see the world around them in a very different way.
In his late teens and early twenties Erik H. Erikson, the widely acclaimed psychoanalyst and developmental theorist, aspired to be an artist. In Erik Erikson’s Verbal Portraits: Luther, Gandhi, Einstein, Jesus, Donald Cappscontends that Erikson’s portraits of respective historical figures not only reflect his artistic gifts but also make a highly creative contribution to psychoanalytic discourse. Moreover, his verbal portraits are vivid and compelling representations of his multifaceted conception of identity. His emphasis on the formative role of the mutual recognition of mother and infant in human portraiture, the importance he attaches to the Self and the sense of “I,” and his use of psychoanalysis as a means to experience the living presence of noteworthy historical figures are especially noted. In addition to his portraits of the four men, his brief verbal portrait of Ruth Benedict is presented, and his personal identification with a fifteenth century painting of Mary, the mother of Jesus, is also explored.
Have you ever had the nightmare of being chased by a beast? Then you’ve met Fang. He’ll be the first to admit that he’s a very simple nightmare. All he knows is hunting your dreams and dragging them into the Dark. He’s not ready for his life to get complicated. He’s not ready to be dragged into his best friend’s schemes to make dreams so terrifying they break people. He’s not ready to love, or to be loved, or to meet someone who makes him happy. He’s definitely not ready for those to be three different girls. He’s not ready to grow up. When he does, one thing will stay the same. He’ll stay an artist, and he’ll paint your dreams with fear until they’re beautiful.