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Although it took place over three decades ago, the Vietnam War, at times, seems to be a scar that will not heal. This memoir/essay details the journey of an extremely eager true believer, a young pilot who couldn't wait to get in the war, and was afraid it would be over before he could participate. Starting in the early sixties, this memoir captures the thoughts and feelings of a somewhat idealistic, young pilot as he seeks adventure, glory and excitement, in what he believes to be a truly worthwhile cause. The narrative covers Colonel McCarthy's assignment to the F-4 Phantom II fighter, at the time one of the most capable fighter planes available. It details the extensive training necessary to turn him into a fighter pilot, and follows him as he is thrust into the midst of the intense air campaigns over North Vietnam and Laos. The numerous descriptions of toe curling missions give the reader a realistic feeling of what it was like to be in combat, but, more than that, they show how America's longest and most divisive war was perceived by those who were at the very sharpest point of the spear. Unlike many fighter pilot narratives of combat, McCarthy's retrospective account offered him an opportunity to reexamine his past beliefs, and he candidly discusses why they have altered significantly. While the accounts of air combat are riveting by themselves, these reflections prove to be equally fascinating.
A commonsense, self-contained introduction to the mathematics and physics of music; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science. “Mathematics can be as effortless as humming a tune, if you know the tune,” writes Gareth Loy. In Musimathics, Loy teaches us the tune, providing a friendly and spirited tour of the mathematics of music—a commonsense, self-contained introduction for the nonspecialist reader. It is designed for musicians who find their art increasingly mediated by technology, and for anyone who is interested in the intersection of art and science. In Volume 1, Loy presents the materials of music (notes, intervals, and scales); the physical properties of music (frequency, amplitude, duration, and timbre); the perception of music and sound (how we hear); and music composition. Calling himself “a composer seduced into mathematics,” Loy provides answers to foundational questions about the mathematics of music accessibly yet rigorously. The examples given are all practical problems in music and audio. Additional material can be found at http://www.musimathics.com.
Phantom Limbs and Body Integrity Identity Disorder discusses the conditions of Phantom Limb Syndrome and Body Integrity Identity Disorder together for the first time, exploring examples from literature, film, and psychoanalysis to re-ground theories of the body in material experience. The book outlines the ways in which PLS and BIID involve a feeling of rupture underlined by a desire for wholeness, using the metaphor of the mirror-box (a therapeutic device that alleviates phantom limb pain) to examine how fiction is fundamentally linked to our physical and psychical realities. Using diverse examples from theoretical and fictional works, including thinkers such as Sigmund Freud, Jacques Lacan, Maurice Blanchot, D.W. Winnicott, and Georges Perec, and films by Powell and Pressburger and Quentin Tarantino, each chapter offers a detailed exploration of the mind/body relationship and experiences of fragmentation, bodily ownership, and symbolic reconstitution. By tracing these concepts, the monograph demonstrates ways in which fiction can enable us to understand the psychosomatic conditions of PLS and BIID more thoroughly, while providing new ways of reading psychoanalysis, literary theory, and fictional works. The first book to analyse BIID in relation to PLS, Phantom Limbs and Body Integrity Identity Disorder will be essential reading for academics and literary readers interested in the body, psychoanalysis, English literature, literary theory, film, and disability.
What is pain? What does it mean to have a relationship with it and how does this affect your identity and existence? The author's definition of pain is derived from that proposed by scientists, such as Melzack, Wall and Freud. Pain is a dynamic, multi-layered, diverse collection of experiences, which impacts and influences us throughout life. Pain is a kind of conglomerate of past, traumatic, neurobiological, psychological and emotional imprints--pain as in suffering or being in pain. The author argues that it is not pain, as such, but our relationship with pain, which is most significant to the processes of our lives. In examining the combination of Freud's psychosexual theory of development and Melzack's theory of the neuromatrix, the author endeavours to evidence her theory that there is the distinct possibility for the existence of what she has named a Psychomatrix-patterns of pain (loss, abandonment, grief, rejection, desire) imprinted from infancy.
This collection of essays emerged out of the Agender conference, and various queer cultural activities associated with the PoMoGaze project (Leeds Art Gallery, 2013–2015). PoMoGaze was a term created to promote queer co-curatorial projects held at the gallery as part of Community Engagement activities, and references ‘PoMo’ as a shortening of ‘Postmodern’ combined with ‘Gaze’ as a play on words linking the act of looking with LGBT*IQ activities. The book presents many voices exploring themes of female and trans* masculinities, gender equality, and the lives, work and activism of LGBT*IQ artists and thinkers. It includes discussion of arts-making, cultural materials, diverse identities, contemporary queer politics, and social histories, and travels across time telling gender-crossing stories of creative resistance. Readers with an interest in the performing and visual arts, literature, philosophy, and queer and gendered cultural readings with an intersectional emphasis, will be stimulated by this eclectic and thought-provoking collection.
In Romantic theories of art and literature, the notion of mimesis&—defined as art&’s reflection of the external world&—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period. Burwick explores the mimetic concepts of &"art for art's sake,&" &"Idem et Alter,&" and &"palingenesis of mind as art&" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Sta&ël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic.
How the classic mirror test served as a portal for scientists to explore questions of self-awareness Since the late eighteenth century, scientists have placed subjects—humans, infants, animals, and robots—in front of mirrors in order to look for signs of self-recognition. Mirrors served as the possible means for answering the question: What makes us human? In The Mirror and the Mind, Katja Guenther traces the history of the mirror self-recognition test, exploring how researchers from a range of disciplines—psychoanalysis, psychiatry, developmental and animal psychology, cybernetics, anthropology, and neuroscience—came to read the peculiar behaviors elicited by mirrors. Investigating the ways mirrors could lead to both identification and misidentification, Guenther looks at how such experiments ultimately failed to determine human specificity. The mirror test was thrust into the limelight when Charles Darwin challenged the idea that language sets humans apart. Thereafter the mirror, previously a recurrent if marginal scientific tool, became dominant in attempts to demarcate humans from other animals. But because researchers could not rely on language to determine what their nonspeaking subjects were experiencing, they had to come up with significant innovations, including notation strategies, testing protocols, and the linking of scientific theories across disciplines. From the robotic tortoises of Grey Walter and the mark test of Beulah Amsterdam and Gordon Gallup, to anorexia research and mirror neurons, the mirror test offers a window into the emergence of such fields as biology, psychology, psychiatry, animal studies, cognitive science, and neuroscience. The Mirror and the Mind offers an intriguing history of experiments in self-awareness and the advancements of the human sciences across more than a century.
A commonsense, self-contained introduction to the mathematics and physics of music; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science.