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And they have the nerve to insist that their techniques work on almost =all= children, and that, really, brain injury is largely a matter of degree. The kid who has trouble reading may have an extremely mild brain injury, as may the kid who has trouble sitting still. And that a perfectly normal kid can become physically, intellectually and socially "superb" through techniques described in the above book and the Institutes other works. Can you imagine responsible doctors and therapists suggesting that kids =don't= need drugs, and lots of them?
Worse still, they actually fix these kids! They've developed techniques for helping blind kids to see, deaf kids to hear, and immobile kids to move. Not only have they brazenly published their results in the Institutes magazine, they invite all others who work with hurt children to submit their results for publication! They even have the audacity to introduce you to these children.
The clincher, though, is their insistence that highly trained professionals shouldn't be raising, educating and rehabilitating our children! They expect =parents= to do that and actually give them the tools to do so! What do they expect the hundreds of thousands of tax-funded professionals to do if =parents= are raising their own children and helping them get well far faster and far better than the experts?
This book recklessly places the health and well-being of a few children over that of a well entrenched, extremely lucrative agglomeration of pharmaceutical companies, mental health professionals and public educators. It cannot be endorsed by any responsible person.
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A very well-researched book, it is obvious that the authors have not only thought long and hard about the subject matter, but have also applied a very disciplined analysis to it. Although the authors are scholars, the book is not necessarily aimed at an academic audience. While challenging, it is still approachable by the lay person.
The text does not recommend any particular methodology for decision making, but instead provides a context within which different decision making methods can be understood and evaluated. It begins by analyzing the problems confronting all acceptable risk decisions, discussing '5 generic complexities' that negatively affect all forms of formal risk analysis. Then the authors provide '7 criteria for evaluating the acceptability of approaches to acceptable risk.' The remainder of the book is spent analyzing approaches to risk management on a spectrum of empirical to formal methods, using their 7 criteria.
I found it an extremely enlightening text with applicability beyond that stated by the authors. It sheds light on many of the 'formal' methods that have been developed for areas of concern to me, specifically in the Information Security field, which often tends towards voodoo analysis based on unstated assumptions and incomplete methodologies. Although it was written over 20 years ago, it still provides a great deal of utility and insight today. One of the text's final recommendations is that the field of Risk Management be made into a formal career choice, with all of the 'formal trappings'. It is a tribute to the foresight of the authors that this is exactly what is happening today, with the emergence of the Chief Risk Officer role, trade journals devoted to the generic concept of risk, and ever greater academic attention and career training in risk management.
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Every rock guitarist knows how simple some of the best chord progressions are. If you can play a simple I VIminor IV V, you can play literally hundreds of classic oldies from ballads, such as "In the Still of the Night," to upbeat rockers such as "Runaround Sue." Remove the VI minor and you get another, classic three chord progression. But, there are many other great rock progressions, some surprisingly simple, others less so, and this book explains them. Also, the book helps to understand the theory of chord progressions so you can play them in different keys.
Knowing chord progressions is important for rhythm guitar but even some lead guitar relies on chord progressions, i.e, not all lead guitar comprises playing riffs. So this book is essential for lead guitarists as well as rhythm guitarists. An early example of sort of a "rhymth/lead" would be Buddy Holly playing "Peggy Sue" on his stratocaster. He varied the order of the I IV V chords (he played in the key of A so the chords he used were A D E). However, there are many more advanced and complex examples of chord progressions constituting lead guitar.
This book will be very helpful to everyone from someone just barely beyond the most basic skills to fairly advance guitarists. I recommend this book and cd highly.
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I have read several books by Compton, and all have been good. He kept his books clean, and I really appreciate that. I wish he would have hung around longer for us to enjoy.
Pick up this book, and if you like it you will also enjoy books by Kirby Jonas. Because of Kirby's books, I have gone into reading books on tape. They're wonderful. Since Compton is gone now I hope Kirby Jonas gives many a reader of Westerns a place to turn to.
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