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Professionals in modern psychology, behavioral medicine, and psychoneuroimmunology are exploring ways in which we can "mentally" influence our own bodies through hypnosis, imagery, visualization, attention, intention, and other forms of self-regulation--for fostering physical and psychological health and well-being. Is it possible for us to use such techniques to influence others, even at a distance, for purposes of healing? Is it possible for us to influence the images, thoughts, behaviors, and physiological reactions of other persons--separated by distance--without conventional sensory means of interaction? Can these abilities extend to animals and even to cells (e.g., human red blood cells)? Might these abilities be involved in the efficacy of distant, mental, or spiritual healing and intercessory prayer? Might these influences even extend to events distant in time--even "backwards in time?" Do these influences have major implications for our scientific theories, our human identity, the interconnections between ourselves and nature, and our relationships with others? Careful laboratory work--described in detail in this book--suggests that the answer to all these questions is a resounding "Yes!" A personal introduction and 12 detailed chapters describe the evidence that supporst these important claims. The book also describes the factors that make such distant mental influences more or less likely, so that anyone might use these distant influence skills more effectively and consistently for their own benefit and for the benefit of others.
Here, a Russian psychologist records in precise detail his scientific experiments in distant mental suggestion and behavior modification. He reveals how mental suggestion can influence motor acts, generate visual images and sensations, and induce sleeping or waking states. The book describes the world landscape of scientific research into mind-to-mind communication before, during, and after World War II.
The phenomenal growth of global pharmaceutical sales and the quest for innovation are driving an unprecedented search for human test subjects, particularly in middle- and low-income countries. Our hope for medical progress increasingly depends on the willingness of the world's poor to participate in clinical drug trials. While these experiments often provide those in need with vital and previously unattainable medical resources, the outsourcing and offshoring of trials also create new problems. In this groundbreaking book, anthropologist Adriana Petryna takes us deep into the clinical trials industry as it brings together players separated by vast economic and cultural differences. Moving between corporate and scientific offices in the United States and research and public health sites in Poland and Brazil, When Experiments Travel documents the complex ways that commercial medical science, with all its benefits and risks, is being integrated into local health systems and emerging drug markets. Providing a unique perspective on globalized clinical trials, When Experiments Travel raises central questions: Are such trials exploitative or are they social goods? How are experiments controlled and how is drug safety ensured? And do these experiments help or harm public health in the countries where they are conducted? Empirically rich and theoretically innovative, the book shows that neither the language of coercion nor that of rational choice fully captures the range of situations and value systems at work in medical experiments today. When Experiments Travel challenges conventional understandings of the ethics and politics of transnational science and changes the way we think about global medicine and the new infrastructures of our lives.
In six essays, poet and novelist Anne Simpson traces the paths of her thoughts, from observation to association, through poetry, language and metaphor, otherness and wilderness. Walking the beaches and trails near her home in Antigonish, Nova Scotia, Simpson studies the connections between outdoors and inner life. A hike along a local ridge and the sighting of an owl spurs an examination of birdsong and its kinship with poetry, whose own perch is somewhere near the edge of grammar, beyond sure knowledge, where resonance and insight take the place of certainty-what Thoreau called "tawny grammar." Following the owl, Simpson takes us to the underworld, also home to otherness, and to the Spanish concept of duende, the imminent presence of death in life. In the work of other artists-Matthias Grunewald's Isenheim Altarpiece, Elizabeth Bishop's poetry and lesser known visual art, and the fiction of Nabokov, Borges and Dostoevsky-Simpson ponders the location of the other in what is presented as subject. For in this impasse between what readers and viewers and even the subjects themselves see and cannot see resides the death in life, the wilderness on the edge of grammar. Along the way, Simpson shares some of her own poetic process. The final piece in the collection recounts attempts to write poetry in response to a friend's photographs. Simpson writes of missteps and her eventual decision to abandon grammar in an effort to move closer to the emptiness that form illuminates and that illuminates form. This consideration of form takes on board the Buddhist teachings found in the Heart Sutra, the commitment and responsibility we have to imagine what we are not. Here then is the other that compels the poet to write, to occupy a place on the outside edge of onself. "This book is a kind of wild walking," Simpson says, "because, as I was writing it, my thinking became a little wild, brambly and overgrown-a kind of elderberry bush. The walking and writing became almost indistinguishable. I'd be busy turning something over in my mind-imagining a world without grammar, for instance-while walking in the woods at the Fairmont Ridge, and be startled out of it by the drumming of a ruffed grouse. In winter, walking across ice, I began thinking that the descents and ascents of poetry were like those of the shamanic journey. And why was poetry so intimately concerned with suffering-did it reveal voyeurism or a depth of care?These essays range around Nova Scotia, as I kept returning to the way this province has become the home of my thinking, not just the place where I live. The final essay, which seemed to grow out of the marram grass along the barrier beaches of the Northumberland Strait, traces the connection between the Heart Sutra and poetry. I guess the real question, in each of these essays, is the way writing depends upon otherness-and how it arcs toward a relationship with the other."
A Ragged Pen brings to the page five essays on memory. First delivered in Vancouver in the spring of 2005, these talks-by Robert Finley, Patrick Friesen, Aislinn Hunter, Anne Simpson and Jan Zwicky-examine the narrative challenges, lyric energy and questions of verity that surround the subject of memory in a creative context. Finley's essay searches out appropriate, genuine voices for memories. Comparing photo narrative projects, his own and a friend's, he proposes a form of storytelling that incorporates both memory and creation, a dialogue that speaks to, rather than for, the past. Within the discussion of narrative Zwicky posits a distinction between lyric and narrative treatments of memories, what each accepts about and tries to do with what memory delivers, and whether a difference in the degree of verity is part of this distinction. Hunter picks up the thread of verity and examines the discrepancy between seeing and imagining, the notion of "real" and the power of memory, drawing on the work of Borges, Seamus Heaney and recent science that calls into question commonly held perceptions of truth. Friesen begins with a childhood memory he suspects may be an invention, and opens onto the role of longing in memory and in poetry, challenging the assumption of past experience in longing, arguing for a note of loss in every new experience, a longing for what has never been. Simpson uses a myth of longing, that of Orpheus and Eurydice, to dig beneath metaphor, bringing new ideas and influences to the role of metaphor in social interactions and artistic endeavours. Together these essays make fascinating crossovers and offer fresh insight on memory and art. A Ragged Pen is a valuable new contribution to the study of poetics and narrative philosophy.
An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.
Maps poised at the intersection of art, architecture, activism, and geography trace a profound shift in our understanding and experience of space. The maps in this book are drawn with satellites, assembled with pixels radioed from outer space, and constructed from statistics; they record situations of intense conflict and express fundamental transformations in our ways of seeing and of experiencing space. These maps are built with Global Positioning Systems (GPS), remote sensing satellites, or Geographic Information Systems (GIS): digital spatial hardware and software designed for such military and governmental uses as reconnaissance, secrecy, monitoring, ballistics, the census, and national security. Rather than shying away from the politics and complexities of their intended uses, in Close Up at a Distance Laura Kurgan attempts to illuminate them. Poised at the intersection of art, architecture, activism, and geography, her analysis uncovers the implicit biases of the new views, the means of recording information they present, and the new spaces they have opened up. Her presentation of these maps reclaims, repurposes, and discovers new and even inadvertent uses for them, including documentary, memorial, preservation, interpretation, political, or simply aesthetic. GPS has been available to both civilians and the military since 1991; the World Wide Web democratized the distribution of data in 1992; Google Earth has captured global bird's-eye views since 2005. Technology has brought about a revolutionary shift in our ability to navigate, inhabit, and define the spatial realm. The traces of interactions, both physical and virtual, charted by the maps in Close Up at a Distance define this shift.
A dazzling, irresistible collection of the ten most groundbreaking and beautiful experiments in scientific history. With the attention to detail of a historian and the storytelling ability of a novelist, New York Times science writer George Johnson celebrates these groundbreaking experiments and re-creates a time when the world seemed filled with mysterious forces and scientists were in awe of light, electricity, and the human body. Here, we see Galileo staring down gravity, Newton breaking apart light, and Pavlov studying his now famous dogs. This is science in its most creative, hands-on form, when ingenuity of the mind is the most useful tool in the lab and the rewards of a well-considered experiment are on exquisite display.
Montague Ullman The second volume of this series includes essays on methods and issues in ESP research (Morris), research findings in ESP (Palmer), and theories of psi (Rao). It thus complements the areas covered in Volume 1, the two volumes taken together providing the reader with a sound grounding in the progress and achievements of parapsychological research from its inception to the present day. What is immediately striking is the rapid increase in the amount and variety of experimental reports appearing in the last decade and the increasing number of centers in which research is being carried out. Work in parapsychology is moving toward a broader disciplinary base, the use of more imaginative technology, greater academic support, and more activity on an international scale. These are promising signs of a rapprochement between parapsychological research and the mainstream of science. Robert O. Becker, in his preface to Volume 1, holds out the hope that parapsychology will lead the way to a new view of the biological or ganism, one going beyond mechanism to "a new vision of the human being and his place in the universe" (Becker, 1977). Heavy as this respon sibility may be, a careful reading of the present volume should persuade the reader that a new view is very much in order.