'Contact'! is the title of the last photo in Art Shay's new book of photographs, 'Animals.' It shows a human hand and a hairy simian hand with a peanut between them; it isn't clear who is the giver and who is the receiver. The theme of this book is the ways in which we share the planet with other animal species and the things we have in common with each other. The cover photo shows a woman wearing a leopard coat, walking past a leopard in its cage. Photos of horses and dogs at work, a hog drinking beer, a squirrel eating matzoh and other animals going about their ordinary daily lives remind us of the ways in which we identify with and influence each other. What is particularly appealing about this book is the spontaneity and unpretentiousness of these photos which take us all over the world, from various locations in the United States to Europe and Africa. This book will delight anyone who has had a warm or interesting or unusual contact with an animal, and who hasn't?

I loved this book when I was a 5 year old some 30 years ago, and now my son loves it also. It's fun and clever, and the illustrations hark back to a different era when 6-color printing wasn't necessary to hold a child's attention--this one uses just two colors--and yet the illustrations are wonderful.

Of course, I may be a bit biased because my name is Arthur!

Realistically, this book thoroughly delves into the "deeper things" concerning scripture. Let he who "has an ear to hear" understand, and the less intellectual stand aside.

This is one of the best books on optimal control. It covers a wide range of interesting material including parameter optimization, optimization for systems with constraints, feedback control and singular solutions of optimization. The book can be useful in teaching courses in control theory. There are plenty of exercises included in the text.

This is the most Stupendous work in Classics since Herodotus. Art is even cooler than Socrates. He is more handsome than Pythagorus, and we think he is awesome. Go Art! It Makes You Think.

This early prose work by a North African writer, _The Golden Ass_, is a classic. The man is in the body of an ass. He experiences life as an ass would. He overheard conversations and witnesses deeds that a human stranger would not be allowed to witness. It's a brutal, funny, and memorable ride.

I would recommend this book, if you like bold, big adventures like Gulliver's Travels or Homer's Odyssey.

I AM TRYING TO LOCATE ARTHUR POCOCK, THIS AUTHOR. HE SERVED ABOARD THE USCGC "LAUREL" DURING WW11 W/ MY FATHER. CHARLES (GIL) GILKISON. THE LAUREL IS BEING DECOMMISSIONED IN MARCH 2000.WOULD LOVE TO CONTACT HIM BEFORE THE CEREMONY. I HAVE BEEN IN TOUCH W/ JACK SHEPARD & FRED LINKE, BOTH OLD SHIPMATES. ANYONE KNOWS HOW TO REACH THIS AUTHOR PLEASE CONTACT ME. HE ALSO AUTHORED "RED FLANNELS & GREEN ICE" ABOUT THE GREENLAND PATROL ABOARD THE "LAUREL." ANY HELP IS GREATLY APPRECIATED. EMAIL- CPBUTTERFLY@WEBTV.NET (CARLETTA GILKISON PASSO) THANK YOU.

This is the best book by this artist-author. He does great prints, and this book is the one with the best prints he has done. The story is the story of the Ark, but really the joy of this book is the prints. They presents great images of life on the Ark done in a way that adults will think kids will like. And the kids will like them

This book shows great incite into the human mind, and is an exciting story of a displaced character's time in a place called Neutralia. A great concept intertwined with an interesting plot, worth checking out.

This is an important book that has already been a great help to me in my development as an educator. Efland builds a rationale for the necessary integration of arts learning in general education curriculum. Efland's effort stems from his belief that works of art require a particular rigor of intellectual inquiry to make meaningful sense, and become of value to the learner first and foremost because they are context-bound creations. Consequently, works of art may be understood as personally relevant artifacts only when they are understood in their interconnectedness with social forms and personal experience.

Efland boldly takes us then to where the positivist bias in the human sciences will not allow us to go-toward the proposition that reductivist and scientific methodology is not 'the only way to procure reliable knowledge' (p. 5). Efland's aim draws upon an architectural metaphor: to 'build a foundation for lifelong learning inclusive of the arts' (p. 6).

According to Efland's thesis, this all becomes possible assuming that one pictures the mind as more than a hierarchical repository of logical-scientific symbolic structures, more than reservoir of enculturated symbols mediated by parents, peers, and knowledgeable adults. Rather, Efland portrays a mind flexible enough to employ different strategies appropriate to the mastery of understanding in pre-packaged, generalizable, and well-structured domains of knowledge as well as ill-structured, broad and complexly fragmented arrays of knowledge. The mind is able to integrate the variety of knowledge domains and arrays into coherent and purposeful maps and models of the world.

Ultimately, the book purports the mind's imagination to be the most flexible and integrative of all the symbol-processing tools at our disposal, powerfully formative and capable of 'creating new ideas or images through the combination and reorganization of previous experiences' (p. 133). The imagination can acquire other cultural tools such as language, mathematics and works of art and then utilize them in continually reshaping an individual's lifeworld in accommodation to the dispositions of the learner, also described as the learner's 'habits of mind' (p. 118). Learning and the creation of new knowledge may thus be preceded by imaginative, even artistic, purpose and development.

Efland's point is that through the arts, learners discover that irregular and ad hoc transferences between a work of art and one's lifeworld are both conceivable and tenable as an extension of knowledge. A mind can thus made, remade, unmade, and made over; it is never finished. It has no certain form and every possibility.

Not relying upon conventional curriculum architecture, Efland seeks a fresh approach to general education born of a process melding conventional learning exercises with the sculptural sensibilities, the dialogic engagement of the senses and materials that is inherent to aesthetic experience. Efland's suggests that educators utilize key works of art as landmarks for cross-disciplinary and cross-social learning, that we recognize the role of metaphor and narrative in providing the basis for 'an imaginative reality', and that we understand the purpose of the arts as contributive to the embodiment of 'the myths that bind human social systems together' (p. 171), all for the furtherance of the exercise of human development. It is a bold integration and a great read!