This is a book that lifts you to a higher frequency of light on the first page and never lets you down. What wonderful blessings it brings to the world! As Larry Dossey succinctly states in his foreword, "There are rare moments in our life when the discovery of a particular book, teaching, or piece of wisdom, simly stuns us and leaves us breathlessly filled with awe, gratitude, and joy. We recognize immediately that we have come upon a great treasure.As we stand in its presence and yield to its brilliance, we can sense immediately that it has begun to change us. That has been my response to encountering the work of the remarkable Bulgarian spiritual teacher Omraam Mikhael Aivanhov."

Feuerstein has captured the spirit of Omraam Mikhael Aivanhov's life of loving compassion and his practical yet profound teaching. For example, Feuerstein says: "To realize the Spirit, we must vibrate at its unsurpassed rate. Spiritual life can be understood as the discipline of voluntarily stepping up our rate of vibration."

He follows this remark with Aivanhov's comment about being alive.

"You are only alive if you emanate love. It's so easy to practice! For instance, when no one is looking, lift your right hand high and project all your love to the whole universe, to the stars, to the angels and archangels, saying: 'I love you, I love you, I want to be in harmony with you!' And in this way you form the habit of always emanating something vibrant and intense, you become a living source, a source of love."

The Mystery of Light brings the ageless wisdom into the practical realities of our physical lives. I wholeheartedly recommend it to all those who are open to great spiritual teachings.

Mr. Feuerstein has brilliantly captured the essence of Master Omraam. His book introduces us to both the history of this great man and his teachings and is a must read for anyone interested in higher spirituality and Omraam's work.

This book sets the standard for what ought to be mainstream minimally acceptable measurement quality and method in any science that deals with probabilistic phenomena. These models have been successfully applied in thousands of applications in dozens of fields. Researchers have repeatedly demonstrated that ordinal weight, distance, and length units can be calibrated to plot/correlate linearly with grams, meters, and cm. Similarly, multiple examples exist demonstrating the inferential stability of variables measured with tests and surveys over samples of examinees, respondents, judges, tasks, items/questions, etc. Accordingly, different survey and test instruments intended to measure the same variable have been successfully equated to do so in the same unit. The basic premise of Rasch's models is the same as that guiding any successful science: the mathematical properties of variables are heuristic ideals never realized in actual data, but invaluable as guides in isolating (probabilistically, and within a range of error) a phenomenon and learning about it. Galileo used a similar model in idealizing the motion of balls on a frictionless plane, and so did Carnot with his heat engine. Rasch's models open up new potentials for scientific advances in many fields. Numerous opportunities exist for learning about the models, obtaining software for data analyses, and for joining Rasch-involved professional associations, web sites, global discussion lists, etc. Not only is Rasch's book not out of print, but numerous developments from it are available...

I don't think this book is "out-of-print". It is available through the University of Chicago Press or contact Ben Wright at MESA (773)702-1596. The 1st edit is 1960. The 2nd is 1980 but they still have plenty.

This book has summarized Rolfing perfectly. It is an old book that has recently been translated to English. If you have any questions about the genius work that is Rolfing, this book will answer them.

A small pocket book with lots of helpful information. While it can not compare with the anatomical details and theoretical depth of Ida Rolf's own book, it provides an excellent overview on what the Rolfing Method of Structural Integration is, what its basic theoretical premises are, and most of all what one can expect as a potential client. All the 10 sessions are described acurately, what happens in them and how one can support them as a client. Written by an experienced Rolfer, this is currently the most user-friendly guide on the market.

Georg Joos was an experimental physicist, yet wrote this outstanding compendium of classical theoretical physics, a model of clarity and simplicity, not to mention soundness. Perfect for learning something when the time is short! I recalled having learned AC circuits from it, using complex numbers, one day before the exams, and learned it thoroughly (and passed!). Freeman Dyson lists this book as the one from which he learned most of Theoretical Physics. What more could be said?

I am a Physicist, and in the event of preparing my general post-graduate exam I have not found a better summary for review my knowledge in Physics. From Vectors to Modern Physics, I found a great quantity of material and problems adequately inserted in text which can help every Physicist, no mater his (her) personal interest, to expand his (her) ideas. I recommend it widely. I used this book as sel-study and I am completely satisfied

In this pre-marxist work of the Young Lukács, he takes advantege of the German Romantic myth of the Homeric epic as the hallmark of a supposedly "unalienated" civilization, where the individual was his envinronment and had no need to develop the kind of alienated, subjective self-consciousness we find in the bourgeois XIXth Century novel. Of course this is a modern myth, based on a very selective reading of Homer's epic - which already betrayed a clear consciousness of the divide existing between the Human and the Divine, as well as of a further divide between the mythical Heroic age and the everyday realities of an archaic class society. Neverthless, this modern myth came to form the core of Lukács' lifelong research programme - the study of alienation, which came to form much of the best research of Western Marxism (after reading Lukács'work one can not imagine Adorno and Horkheimer's _Dialectic of the Enlightnment_ being written without Lukács' starting stone). A must-read, therefore, for anyone interested in Western Marxism in general, as well as Lukács and the Frankfurt School in particular.

The "Theory of the Novel" (1916) is the major work of Lukacs' pre-Marxist period. It is extremely useful both as a kind of document of the feverish intellectual atmosphere of pre-WW I Europe and as one of the underground classics (together with his "History and Class Consciousness" (1923)) that influenced what was later to become the Western Marxism of the Frankfurt School. Lukacs' pre-Marxist prose style, comparable to that of his friend Ernst Bloch's, may seem excessively romantic at times but the overall effect is that theory seems to come alive as the expression of a living human being undergoing an intense personal crisis. The first part of the book discusses the rise of the crisis of interpretation that is represented by the novel as a literary form when it is placed in contrast to the fullness of meaning perceivable in the earlier epic, the form which the novel presumably replaced. Lukacs' discussion of the fundamental dichotomy tearing apart at European civilization from within parallels kindred works such as Nietszches' "The Birth of Tragedy" (with its Apollonian/Dionysian schema) and Toennies' classic work of sociology "Gemeinschaft und Gesellschaft." Also instructive to the student of literature would be a comparison of Lukacs' model with that of Auerbach's "Mimesis" and Bakhtin's contrast of the epic and the novel. The second part of this book is an application of this binaristic framework to novels by Cervantes, Balzac, Flaubert, Goethe, Tolstoy and Dostoevsky. While this whole second part is incredibly rich in insights, Lukacs' application of the Bergsonian notion of time as duree to his study of Flaubert's "L'Education sentimentale" is particularly unforgettable. There, he writes: "Time is the resistance of the organic."

I happened upon this true gem of a book at The Getty, while on a trip to Los Angeles, and simply had to have it. Anyone with an appreciation for words and letters and the challenge of combining them as perfectly as possible, will love this! It is a constant delight and one with which I gift special friends.

It is not every century that is so fortunate to receive a vision of Fine Art that illuminates the foundations of Art and what Art means for the human species. Hegel first distinguishes between ordinary Aesthetics and his notion of Fine Art, that is, Human Creativity. Nature can be Aesthetic, but only Humans create Fine Art, and it is Fine Art that Hegel wishes to explore in this masterpiece.

In great detail, Hegel explains why his concept of Spiritual Freedom is central to Art, just as it is central to Politics, to Religion, to Free Thinking and to Science. Fine Art is distinguished by its direct and personal appeal. A human hand fashions a single object with such care, devotion, skill and imagination that it may be treasured by millions for centuries. This is no act of conditioned reflexes, but an act of profound Freedom and awareness of Spiritual reality.

The key to Art, for Hegel, is always the Spirit. If the Spirit can shine through, then a work of Fine Art can be a great work. The more the Universal Spirit of humanity shows forth, the more attractive that work is to the millions. For that reason, Hegel suggested, the greatest Art is religious Art or any Art that rises to the level of the spiritually sublime, as in Tragedy.

Hegel considered that there is a hierarchy among the Arts. The Arts with the most matter are always a little bit lower than the Arts with less matter. For example, for Hegel, Architecture is the lowest form of Art, because the Original Idea can rarely be perfectly executed through coordinating and budgeting the large crowd of workers needed to complete it.

Sculpture is higher than Architecture, but the limitations of the large marble mass were considerable when compared with the relative Freedom offered by oil on a canvas exhibiting colors, shapes and light, said Hegel.

Higher than Painting are Dance and Music, Art forms that again require many people. However, the substance of these Art forms is not found simply as the human body or the musical instrument, rather, it is found within fleeting motions of the body, or the fleeting vibrations of the instrument. Music is ethereal, and when a musician stops playing, all Music itself stops. Further, Music is invisible to the eye, audible to the ear but also to the heart, and has the capability of manipulating human emotions in the most unique manner.

But the highest form of Art, said Hegel, is Poetry, and the highest form of Poetry is Tragic Drama. Drama is an imitation of Life - not just as in Comedy, the external vagaries of Life, but the inner Life of the human being who suffers and who dies.

Hegel remained a Christian all his life, although he was, as Cyril O'Regan aptly demonstrated, a Heterodox Christian. So we should not be surprised when we read that the Tragic Drama of Christ was, for Hegel, the highest expression of Fine Art, and a narrative that could not be repeated enough times by the Artists of each century.

This is an outstanding book! It features a history of farming and soil/water conservation techniques as developed in the U.S. since colonization, and the pictures! Georg Gerster is brilliant! Some of the most beautiful arial photography in existance! I would recommend this book to anyone!

This is a remarkable and rigorous book by a first-rate scholar and stylist. It reveals the fact that America's intellectual and philosophical heritage is informed not just by English and Scottish thinkers (Locke, Reid)and French philsophes (Voltaire, Rousseau, Montesquieu) who influenced the early republic, but also by Germany philosphers. Using primary sources, Goetzmann shows how German immigrants in the 1800s imported not only lager beer and sausages, but also the thought and dialectic of Hegel. Goetzmann does a service in uncovering the diversity of our intellectual past.

WOW. This is a real work of research. The amount of detail and care that has gone into this study of Warhol's early paintings is not to be believed. The editors have compiled a completely staggering amount of information about each work shown here--and who knew there were so many original paintings?

My only complaint is the book's design, which doesn't seem to have anything to do with Warhol's own aesthetic. The pictures are beautiful, but the words are tough on the eyes--the table of contents is especially awful. This is really a shame, because you can see pictures of Warhol paintings in lots of places. I don't know where you'd find all this wonderful data, though. (Put it on CD-ROM!)

It's definitely an expensive book, but unmatched, as far as I can tell, in its field. Bravo!