I attended the University of Colorado, Boulder as a graduate student in EE in the mid-1980's . I took Dr. Johnk's classes in Electromagnetics, and was very inspired by him personally. He has some sort of 3-D visualization coprocessor in his brain, and the explanatory drawings he made in class reflected that anatomical curiosity, as do the drawings and explanations in this text book of his. In this book, he has pulled together all the important concepts of engineering electromagnetics. I own a bunch of other books on electromagnetics for use as references, but this one is the one I use consistently. My copy of this book now looks like it was dragged down the road behind a car, just from over-use. Soon I will have to buy a new copy.

I own the first edition of the text. Carl presents the material in a very logical and thoughful manner. I have never been as impressed of a textbook before. It reads well and has amazing hand-drawn figures.
A must have for any electrical engineering student, physicist, or fields fanatic.

I took Carl T.A. Johnk's electromagnetics classes at the University of Colorado back in the early 80's. He inspired my career in microwaves and antennas. His lectures were always instructive and entertaining (if you can believe it for an EM class). His book embodies his colorful and insightful lectures.

DAS

The Brakhage Lectures are a collection of avant-garde filmmaker Stan Brakhage's reflections on the techniques and contributions to cinematic evolution of four major directors-- Georges Melies, D W Griffith, Carl Dreyer and Sergei Eisenstein. It was first published in May 1972 at the School of the Art Institute of Chicago, where Brahkage taught and delivered these lectures (or rudimentary forms of what turned into these writings) during the fall and winter semesters of 1970-71. The book is 106 pages in length, 23 of which are taken up by reproductions of photographs and film stills. It includes a breif foreword written by the poet Robert Creeley.

Brakhage has produced a lot of writing, but most of it reflects upon own aesthetic process. Occasionally he turns his thought toward the work of his compatriots in the avant-garde-- as he does in FILM AT WIT'S END.

As a document of Brahkage's thoughts about the more tradition cinema, with which he had little to do, BRAKHAGE LECTURES is a fascinating artifact. Brakhage's Romantic construction of the genius of these filmmakers and his insistence upon finding meaning in the most minute details of their lives provides a more telling portrait of the author than of his four subjects. The various essays are also riddled with insightful obsvervations which demonstrate both Brakhage's knowledge of film history and the discourses which penetrate it. As a text on film theory, it is less relevant-- there are many better published works on all of these directors.

Sonu Shamdasani's insightful preface to Fluornoy's classic study makes this book well worth rereading. The case of Hélène Smith was a hallmark in the early development of modern psychology. This is one of the first scientific studies of mediumship, making it a classic both for students of psychology and for those interested in parapsychology as well. Fluornoy's careful and measured scientific insight combined with his writing style give this work the fascination of a novel and the import of a scientific work.