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Personified dialogues of various entities from our natural world, discussing, arguing, commenting, on every day life's emotional, p physical, intellectual, contingencies.
Personified dialogues of various entities from our natural world, discussing, arguing, commenting, on every day life's emotional, p physical, intellectual, contingencies.
A series of conversations about science in graphic form, on subjects that range from the science of cooking to the multiverse. Physicist Clifford Johnson thinks that we should have more conversations about science. Science should be on our daily conversation menu, along with topics like politics, books, sports, or the latest prestige cable drama. Conversations about science, he tells us, shouldn't be left to the experts. In The Dialogues, Johnson invites us to eavesdrop on a series of nine conversations, in graphic-novel form—written and drawn by Johnson—about “the nature of the universe.” The conversations take place all over the world, in museums, on trains, in restaurants, in what may or may not be Freud's favorite coffeehouse. The conversationalists are men, women, children, experts, and amateur science buffs. The topics of their conversations range from the science of cooking to the multiverse and string theory. The graphic form is especially suited for physics; one drawing can show what it would take many words to explain. In the first conversation, a couple meets at a costume party; they speculate about a scientist with superhero powers who doesn't use them to fight crime but to do more science, and they discuss what it means to have a “beautiful equation” in science. Their conversation spills into another chapter (“Hold on, you haven't told me about light yet”), and in a third chapter they exchange phone numbers. Another couple meets on a train and discusses immortality, time, black holes, and religion. A brother and sister experiment with a grain of rice. Two women sit in a sunny courtyard and discuss the multiverse, quantum gravity, and the anthropic principle. After reading these conversations, we are ready to start our own.
Art Nature Dialogues offers interviews with artists working with, in, and around nature and the environment. The interviews explore art practices, ecological issues, and values as they pertain to the siting of works, the use of materials, and the ethics of artmaking. John K. Grande includes interviews with Hamish Fulton, David Nash, Bob Verschueren, herman de vries, Alan Sonfist, Nils-Udo, Michael Singer, Patrick Dougherty, Ursula von Rydingsvard, and others.
In Mexico’s Sierra Norte de Puebla, beliefs that were held before the coming of Europeans continue to guide the lives of modern Aztecs. For residents of San Martín Zinacapan, life in and on the earth is animated by the same forces, through which people seek to maintain a cohesive view of the relationship of mankind, the cosmos, and the natural world. This delicate balance of the human spirit maintains the health and well-being of villagers, and is an essential part of the social and ideological framework that makes a person’s life whole. This book describes the basic elements of a belief system that has survived the onslaught of Catholicism, colonialism, and the modern world. Timothy Knab has spent thirty years working in this area of Mexico, learning of the Most Holy Earth and following what its people there call "the good path." He was initiated as a dreamer, learned the prayers and techniques for curing maladies of the human soul, and from his long association with the Sanmartinos has constructed a thorough account of their beliefs and practices. Learning to recount dreams, forming a dreamtale, and "carrying it on one’s back" to the waking world is the first part of the practitioner’s labor in curing. But dreamtales are shown to be more than parables in this world, for they embody the ethos and cosmovision that link Sanmartinos with their traditions and the Most Holy Earth. Building on this background, Knab describes how the open-ended interpretation of dreams is the practitioner’s primary instrument for restoring a client’s soul to its proper equilibrium, thus providing a practical approach to finding and resolving everyday problems. Many anthropologists hold that such beliefs have long since disappeared into the nebulous past, but in San Martín they remain alive and well. The underworld of the ancestors, talocan or Tlalocan for the Aztecs, is still a vital part of everyday life for the people of the Sierra Norte de Puebla. The Dialogue of Earth and Sky is an important record of a culture that has maintained a precolumbian cosmovision for nearly 500 years, revealing that this system is as resonant today with the ethos of Mesoamerican peoples as it was for their ancestors.
Galileo’s Dialogue Concerning the Two Chief World Systems, published in Florence in 1632, was the most proximate cause of his being brought to trial before the Inquisition. Using the dialogue form, a genre common in classical philosophical works, Galileo masterfully demonstrates the truth of the Copernican system over the Ptolemaic one, proving, for the first time, that the earth revolves around the sun. Its influence is incalculable. The Dialogue is not only one of the most important scientific treatises ever written, but a work of supreme clarity and accessibility, remaining as readable now as when it was first published. This edition uses the definitive text established by the University of California Press, in Stillman Drake’s translation, and includes a Foreword by Albert Einstein and a new Introduction by J. L. Heilbron.
Swiss critic Johann Georg Sulzer's Dialogues on the Beauty of Nature (1750) and Reflections on Certain Topics of Natural History (1745) are exemplary specimens of eighteenth-century European theology, philosophy, natural history, and aesthetics. Sulzer's contemporaries-notably Goethe-read him with attention. Eric Miller's elegant translation comes with a vivid, informative, and strongly contextualizing introduction. Sulzer's early works are a curio cabinet of the philosophical and theological arguments that exercised and enticed the intelligentsia of his period. These topics and arguments have by no means forfeited pertinence today.
The Green Thread: Dialogues with the Vegetal World is an interdisciplinary collection of essays in the emerging field of Plant Studies. The volume is the first of its kind to bring together a dynamic body of scholarship that shares a critique of long-standing human perceptions of plants as lacking autonomy, agency, consciousness, and, intelligence. The leading metaphor of the book—“the green thread”, echoing poet Dylan Thomas’ phrase “the green fuse”—carries multiple meanings. On a more apparent level, “the green thread” is what weaves together the diverse approaches of this collection: an interest in the vegetal that goes beyond single disciplines and specialist discourses, and one that not only encourages but necessitates interdisciplinary and even interspecies dialogue. On another level, “the green thread” links creative and historical productions to the materiality of the vegetal—a reality reflecting our symbiosis with oxygen-producing beings. In short, The Green Thread refers to the conversations about plants that transcend strict disciplinary boundaries as well as to the possibility of dialogue with plants.
Educator and art therapist London uses stories, poetic meditations, and guided exercises to show readers how making art in nature can enhance their self-knowledge and creativity. 20 halftones.