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Groundworks gives accounts of the actual processes of working with individuals in six major schools of Somatics by either the creator of the method itself or a leading teacher of the method. The creators are Robert Hall of Lomi School, Bonnie Bainbridge Cohen of Body-Mind Centering, and Emilie Conrad Da'oud of Continuum. Leading teachers of methods include Michael Salveson on Rolfing, Elizabeth Beringer on Feldenkrais work, and Darcy Elman on F. M. Alexander Technique. Each therapist describes how he or she approaches and diagnoses a patient's problem, how he or she determines what and where to work, and the progress of a session. Each therapist shows the complexity of working with somatic processes and the resulting reward for client and therapist both.
Modern environmentalism has come to realize that many of its key concerns—“wilderness” and “nature” among them—are contested territory, viewed differently by different people. Understanding nature requires science and ecology, to be sure, but it also requires a sensitivity to history, culture, and narrative. Thus, understanding nature is a fundamentally hermeneutic task.
This volume discusses Kant's philosophical development in the Groundwork and his attempt to justify the categorical imperative as a principle of freedom.
An illuminating look at a fundamental yet understudied aspect of Italian Renaissance painting The Italian Renaissance picture is renowned for its depiction of the human figure, from the dramatic foreshortening of the body to create depth to the subtle blending of tones and colors to achieve greater naturalism. Yet these techniques rely on a powerful compositional element that often goes overlooked. Groundwork provides the first in-depth examination of the complex relationship between figure and ground in Renaissance painting. “Ground” can refer to the preparation of a work’s surface, the fictive floor or plane, or the background on which figuration occurs. In laying the material foundation, artists perform groundwork, opening the ground as a zone that can precede, penetrate, or fracture the figure. David Young Kim looks at the work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista Moroni, and Caravaggio, reconstructing each painter’s methods to demonstrate the intricacies involved in laying ground layers whose translucency and polychromy permeate the surface. He charts significant transitions from gold ground painting in the Trecento to the darkened grounds in Baroque tenebrism, and offers close readings of period texts to shed new light on the significance of ground forms such as rock face, wall, and cave. This beautifully illustrated book reconceives the Renaissance picture, revealing the passion and mystery of groundwork and discovering figuration beyond the human figure.
Environmental aesthetics crosses several commonly recognized divides: between analytic and continental philosophy, Eastern and Western traditions, universalizing and historicizing approaches, and theoretical and practical concerns. This volume sets out to show how these, perspectives can be brought into conversation with one another. The first part surveys the development of the field and discusses some important future directions. The second part explains how widening the scope of environmental aesthetics demands a continual rethinking of the relationship between aesthetics and other fields. How does environmental aesthetics relate to ethics? Does aesthetic appreciation of the environment entail an attitude of respect? What is the relationship between the theory and practice? The third part is devoted to the relationship between the aesthetics of nature and the aesthetics of art. Can art help "save the Earth"? The final part illustrates the emergence of practical applications from theoretical studies by focusing on concrete case studies.
Looks at the worldwide increase in street gangs, explores why people join them, discusses the social problems that push young people into gangs, and examines what can be done to lessen their effects on society and prevent gang-related crime.